Heidelberg is charmingly situated on the River Neckar, is rich in historical associations, and, as all readers are aware, is attractive to the tourist chiefly from its university, and its castle, which is one of the last creations of the old castle-builders, and seems in its style to be something between a stronghold and a chateau, a palace and a fortification. It certainly is a most imposing and magnificent ruin, with its lofty turrets, great round towers, terraces, arched gateways, and still splendid court-yards and grounds; the splendor of the building and beauty of its situation induce one enthusiastic guide-book to style it "the Alhambra of the Germans."
A good, comfortable night's rest at the Eagle Hotel prepared us for the ascent next morning by the steep pathway and steps that led up to it from the Corn Market; up we go, and after an ascent of about fifteen minutes, we pass through a massive arch-way, known as Frederic IV.'s building, and stand in the great court-yard of the castle.
The portion of the buildings fronting on this grand enclosure are elegantly carved and decorated with arcades and life-size sculptures; here is one known as Rudolf's building, the oldest part of the castle, a Gothic structure, then Rupprecht's building, founded in the year 1400, by Rupprecht III., with beautiful Gothic windows, over which are the architect's arms, three small shields upon an escutcheon. This carving is taken by many to be some sort of a masonic mark, but is nothing of the kind, but according to a little local guide, a coat of arms common to all German artists; and an interesting legend as to its origin is told, which is to the effect that one day the Emperor Charles V. visited Holbein, the artist, and found him busy painting at the top of a high scaffolding; the emperor signed to the artist not to disturb himself, and at the same time motioned to one of his suite to steady the tottering ladder; the young noble, however, thinking it beneath his dignity to render such menial service to an artist, pretended not to understand the emperor, who thereupon advanced and steadied it himself, and commanded that from that time the German artists should be reckoned among the nobility of the empire, and their coat of arms should be such as Holbein decided upon. The artist then made choice of three small uniform silver shields on a blue field.
Then we have other beautiful buildings fronting on the great court-yard, and named after their builders, who at different periods made their contributions of architectural ornament to this romantic old pile. One of the most gorgeous is that known as Otto Heinrich's building, finished in 1559, restored twice,—the last time in 1659, and finally destroyed in 1764,—but the splendid front remains standing, and even now, in its partially ruined condition, excites admiration, with its splendid façade, rich to prodigality with statues, carvings, and decorations. Ludwig's building is another, into which we can go and see the great kitchen, with its huge fireplace and great hearth in the middle, where, on festal occasions, whole oxen were roasted.
Near here is the castle well, fifty-four feet deep, with four pillars taken from Charlemagne's palace, to support its canopy, the pillars being those sent to Charlemagne by Rome for his royal edifice. Then comes Frederick's building, founded by Frederick IV. in 1601, rich in statues and sculpture, and under it a chapel, over the portal of which is inscribed, in Latin, the words of the Psalmist,—
"This is the gate of the Lord;
The righteous shall enter into it."
But we are bewildered with the different façades, towers, fronts, and buildings that succeed each other in this, what we now find to be a sort of agglomeration of castles, and so pass out to the great stone terrace or platform that looks down upon the town and the valley below.
These old castle-builders did have an eye for the beautiful; and a grand point for observation is this great terrace. Only fancy a broad stone platform, seventy or eighty feet long by thirty feet wide, midway up the front wall of an elegant castle, rich in architectural beauty, the terrace itself with heavy cut stone rails, vases, seats, and ornamental stone bowers at the corners, while spread out far below and before the spectator lies one of the loveliest landscape views that can be imagined. We can look right into the streets of the town directly below us; beyond is the winding River Neckar, with its beautiful arched bridge, and beyond that a vine-clad height known as the Holy Mountain; on one side is the lovely valley of the Neckar, romantically and luxuriously beautiful as it stretches away in the distance. The town of Heidelberg itself is squeezed in between the castle hill and the River Neckar, which widens out below the town, and finally unites with the Rhine, which we see in the distance, and beyond it blue mountains, binding in the distant horizon, frame in the charming picture.
I cannot, of course, describe, in the limits of a sketch, the massiveness, vast extent, and splendor of this castle, the production of three centuries,—commenced when the crusades were at their height, and not finished till long after cannon were in use; so that we mark the progress and changes of architecture in each century, and cannot but feel that, in some respects, the builders of old times were in advance of those of the present day. One might stay here weeks, and enjoy the romantic scenery of the vicinity and the never-ending new discoveries which he makes in this picturesque old ruin. In 1689 the French captured the place and undertook to blow up the principal round tower; it was so solidly and compactly built, however, that the enormous mass of powder they placed under it, instead of lifting the great cylinder into the air to fall back a heap of ruins, only broke off a third part of it, which toppled over entire in one solid chunk, and it lies as it fell, broken off from the main body as if by the stroke of a gigantic mallet, and exposes the wall of close-knit masonry twenty feet in thickness.