DOI issue:
Nr. 168 (March 1907)
DOI article:Levetus, A. S.: Schloss Tratzberg in north Tyrol
DOI Page / Citation link:https://doi.org/10.11588/diglit.20774#0126
Schloss
about one-third of the height of the room, is beauti-
ful with the glory of old age. The ceiling of the
oriel is formed of crossed beams of oak with stars
in the fields. The room is furnished with wall cup-
boards, a finely carved washstand fitted in the panel-
ling, and seats all round, which at once served two
purposes, for rest and use. Three tables, dating
from about the year 1500, are of rare artistic worth;
their tops are inlaid and are now silvered with age.
Around the room are hung old family pictures.
But technically and artistically it is the door which
is most interesting (p. 102); it is of great beauty
and must have been the work of a master-hand.
The arms are those of the Tanzl family and those
of the first owner’s wife, Rinderscheidt. The bands
and locks are of great intrinsic value, as is all the
Gothic wrought-iron work in the castle. They seem
to have been the work of the same locksmith who
was answerable for the
fine wrought-iron work in
the churches in Schwaz.
The Konigin Zimmer,
or Queen’s Room (p. 103),
is the most beautiful of all
the rooms, and probably
the work of the master
who decorated the Flirsten-
zimmer in Schloss Feld-
thurus and the choir of the
Hofkirche in Innsbruck.
It is typical of the German
Renaissance in Tyrol and
exceedingly rich in style.
The story goes that seven
joiners worked at the
panelling and ceiling
seven years, seven months
and seven weeks, and then
it became the thing beau-
tiful. It is said that if the
key to the riddle could
only be found, the entire
ceiling could be taken to
pieces and carried awray on
a wagon. Be that as it
may this ceiling is alone
worth a visit to Tratzberg.
It is in perfect condition
and shows wonderful feel-
ing, a fine imagination and
dexterous hand, working to-
gether with a highly gifted
brain. From the fact that
the style of the Konigin
104
Trat zb erg
Zimmer is mixed it may be assumed that it was first
built under the Tanzl’s, and afterwards altered-under
the Ilsungs. The walls are hung with brocades of
camel-hair, which, fortunately, is not subject to the
inroads of moths, and so these brocades have been
preserved throughout the ages; they are among
those “ things of beauty which are a joy for ever.”
The Habsburgersaal (p. 103) is of singular
interest. The upper part of the walls bears the
genealogical tree of the liabsburgs, while the lower
part is decorated with painted stags, whose horns
are real and once served as candelabras. The
length of this tree is 230 ft., and it contains a
hundred and forty-eight figures, half life-size, dating
from the Emperor Rudolf I. to the six children of
Philip le Bel, this last being unfinished. The
painting is in tempera, and has been restored in
places. A copy of it is in the Imperial Museum
SCHLOSS TRATZBERG : OUTBOARD IX THE TANZL ROOM
about one-third of the height of the room, is beauti-
ful with the glory of old age. The ceiling of the
oriel is formed of crossed beams of oak with stars
in the fields. The room is furnished with wall cup-
boards, a finely carved washstand fitted in the panel-
ling, and seats all round, which at once served two
purposes, for rest and use. Three tables, dating
from about the year 1500, are of rare artistic worth;
their tops are inlaid and are now silvered with age.
Around the room are hung old family pictures.
But technically and artistically it is the door which
is most interesting (p. 102); it is of great beauty
and must have been the work of a master-hand.
The arms are those of the Tanzl family and those
of the first owner’s wife, Rinderscheidt. The bands
and locks are of great intrinsic value, as is all the
Gothic wrought-iron work in the castle. They seem
to have been the work of the same locksmith who
was answerable for the
fine wrought-iron work in
the churches in Schwaz.
The Konigin Zimmer,
or Queen’s Room (p. 103),
is the most beautiful of all
the rooms, and probably
the work of the master
who decorated the Flirsten-
zimmer in Schloss Feld-
thurus and the choir of the
Hofkirche in Innsbruck.
It is typical of the German
Renaissance in Tyrol and
exceedingly rich in style.
The story goes that seven
joiners worked at the
panelling and ceiling
seven years, seven months
and seven weeks, and then
it became the thing beau-
tiful. It is said that if the
key to the riddle could
only be found, the entire
ceiling could be taken to
pieces and carried awray on
a wagon. Be that as it
may this ceiling is alone
worth a visit to Tratzberg.
It is in perfect condition
and shows wonderful feel-
ing, a fine imagination and
dexterous hand, working to-
gether with a highly gifted
brain. From the fact that
the style of the Konigin
104
Trat zb erg
Zimmer is mixed it may be assumed that it was first
built under the Tanzl’s, and afterwards altered-under
the Ilsungs. The walls are hung with brocades of
camel-hair, which, fortunately, is not subject to the
inroads of moths, and so these brocades have been
preserved throughout the ages; they are among
those “ things of beauty which are a joy for ever.”
The Habsburgersaal (p. 103) is of singular
interest. The upper part of the walls bears the
genealogical tree of the liabsburgs, while the lower
part is decorated with painted stags, whose horns
are real and once served as candelabras. The
length of this tree is 230 ft., and it contains a
hundred and forty-eight figures, half life-size, dating
from the Emperor Rudolf I. to the six children of
Philip le Bel, this last being unfinished. The
painting is in tempera, and has been restored in
places. A copy of it is in the Imperial Museum
SCHLOSS TRATZBERG : OUTBOARD IX THE TANZL ROOM