Vianden Castle

In memory of the Vianden historian Théodore BASSING 1867 - 1926
The Vianden History Friends 1976

– Text from the plaque in the photograph above, translated using Google Translate.

The WHITEWASHER
The MUSICIAN
The FOOL

In the Middle Ages, Vianden was the capital of a county that extended as far as Bitburg and Prüm in Germany.

In 1815, following the Congress of Vienna, 42 localities from the former county and 7 of the 15 municipalities in the canton of Vianden were ceded to Germany.

In 1851, the canton of Vianden was temporarily abolished.

Customers disappeared, poverty increased, and emigration began.

To find work, the WHITEWASHERS of Vianden would travel through Ardennes villages, whitewashing houses in preparation for the local fair. On the day of the fair, they would return as MUSICIANS, bringing their instruments to invite people to dance.

This is why the conservative village populations referred to the whitewashers and musicians from Vianden—who were always cheerful and in high spirits—as the "FOOLS OF VIANDEN."

In short, the three sculptures represent a single person: the "WHITEWASHER" is also the "MUSICIAN" and, consequently, the "FOOL OF VIANDEN."

The three bronze sculptures were created and executed by the local artist Marie-Josée Kerschen, whose renown extends far beyond the country's borders.

– Text from a photograph of a sign posted on Google Maps, translated from French using Google Translate.

The castle was built between the 11th and 14th centuries upon Roman foundations and the site of a Carolingian refuge. The palace complex stands as one of Europe's largest and finest feudal residences from the Romanesque and Gothic eras.

In 1820—during the reign of King William I of the Netherlands (also Prince of Orange-Nassau and Count of Vianden)—the sale of the castle and its subsequent dismantling led to its falling into ruin. In 1890, the castle passed to Grand Duke Adolf of the elder line of the House of Nassau and remained in the possession of the Grand Ducal family. After the state acquired the castle in 1977, it was restored to its former splendor and is now considered one of Europe's most significant architectural monuments.

– Text from the pamphlet, translated from German using Google Translate.

Latrine and niche belonging to the lower level of the first Romanesque palace (11th century)

– Text from a sign, translated from French using Google Translate.

UPPER CHAPEL
- Masterpiece of early Gothic architecture
- Decagonal plan with a pentagonal choir
- Built in the first half of the 13th century
- Dedication: St. Anthony

– Text from a sign, translated from French using Google Translate.

Painting was considered the necessary completion of every civil and religious edifice, and was applied—by preference—to ornamental sculpture or statuary, to moldings and profiles, as if to bring out their importance and value. If painting is subject to the lines, forms, and design of the structure, it is an essential part of architecture
(Viollet-le-Duc).

The appearance of historic architecture is defined by forms and materials, but also by color. The goal of heritage conservation work is therefore not only the preservation of the original fabric, but also the restoration of the original color scheme—which in most cases has been lost.
(Rhineland-Palatinate State Office for Monument Preservation).

– Text from a sign, translated from French and German using Google Translate.

JEMMY KOLTZ
(1909–1989)

The name Jemmy Koltz is closely linked to the history and archaeology of the Grand Duchy of Luxembourg. Jemmy Koltz rendered great service to the city of Luxembourg, dedicating a large part of his life to showcasing its history and curiosities. His search for plans and archives regarding the Luxembourg Fortress—materials that were scattered across the four corners of Europe—along with the restoration of the Casemates (subsequently operated as a tourist attraction), his countless writings and publications, and his numerous lectures, raised public awareness regarding the richness of the capital's heritage and the importance of preserving as many traces of the past as possible.

His appointment as director of the Luxembourg City Tourist Office did not stop Jemmy Koltz from fighting to ensure the country respected its traditions, maintained its authenticity, and preserved its heritage.

Jemmy Koltz’s persistent efforts and initiatives during the 1950s contributed to growing awareness regarding the conservation and restoration of Vianden Castle. He became one of its foremost champions. To him, the ruins of Vianden Castle represented a perpetual challenge. Faced with such an undertaking, opinions were bound to differ: some preferred to leave things as they were, unwilling to destroy the somewhat heavy, mysterious atmosphere offered by a ruined castle perched atop a rocky outcrop. But it was Jemmy Koltz who was proven right, and the ruins were finally transformed into restoration sites. Today, the castle-palace stands as proof that nothing beats the private initiative, the courage, and even the sheer tenacity of an idealist.

Drawing on his expertise in restoration work, Jemmy Koltz was a vital asset to the "Friends of Vianden Castle" association, of which he was elected first vice-president. His work with the Commission for Sites and Monuments—tasked with overseeing the restoration of Luxembourg’s castles—played a pivotal role, culminating in the publication of the *New Monograph on Vianden Castle*.

True to his convictions, Jemmy Koltz placed his expertise at our association's disposal right up to the very end.

In Jemmy Koltz, the "Friends of Vianden Castle" association has lost a collaborator to whom it owes its very roots and existence. His writings and research on the preservation of historic monuments constitute an inexhaustible wealth of information for our national heritage.

– Text from the sign on the left side of the photograph above, translated from French using Google Translate.

Victor HUGO
1802–1885

During his exile (1851–1870)—spent in Brussels, on the Channel Island of Jersey, and on the neighboring island of Guernsey—he traveled through the Grand Duchy four times as a tourist during his summer journeys toward the German Rhine:

1862: Clervaux, Vianden, Echternach; Larochette, Luxembourg City
1863: Mersch, Larochette, Luxembourg City; Echternach, Vianden, Clervaux
1864: Larochette, Luxembourg City, Grevenmacher
1865: Echternach, Vianden, Clervaux

In 1871, following the Paris Commune and his expulsion from Belgium, he lived in the Grand Duchy for approximately 130 days as a political refugee:

June 1–8, 1871: Luxembourg City
June 8 – August 22: Vianden
August 22–26: Diekirch
August 26 – September 23: Altwies (to undergo a thermal cure in Mondorf, Luxembourg).

The Victor Hugo House in Vianden was inaugurated in 1935; located in the very house where he lived in 1871, the property belongs to the City of Vianden. The museum is managed by the Friends of the Victor Hugo House in Vianden.

Link: www.victor-hugo.lu

– Text from the left sheet of paper in the photograph above, translated from French using Google Translate.

Victor HUGO
"At Vianden"

He is lost in thought. He sits, dreaming, beneath a maple tree.
Does he hear the ancient forest murmuring?
Does he gaze at the flowers? Does he gaze at the heavens?
He is lost in thought. Nature, with its mysterious brow,
Does all it can to soothe mankind:
From the vine-clad hillside to the apple-laden orchard,
Flies come and go and return; birds
Cast their small, wandering shadows upon the waters;
The mill catches the spring and halts it in its course;
The pond is a mirror where the cool landscape
Is reflected upside down, turning into a hazy vision:
Everything in the depths performs a function:
No atom lacks its task; all is in motion;
The seed in the furrow, the beast in its lair,
Have a purpose; matter obeys the magnet;
The vast, infinite grass teems with life;
Everywhere there is ceaseless, unremitting movement—
In all that sprouts, grows, rises, falls, and stirs,
In the nest, in the dog harrying the flocks,
In the star; yet the surface is a realm of vast repose;
Beneath, all strives; above, all slumbers;
It seems as though that dark, crimson immensity—
Which sways the sea to cradle the halcyon,
And which we call Life and Creation—
Charming, feigns sleep, and caresses
The universal labor with a touch of indolence.
What a dazzling sight for the contemplative eye!
From every quarter—valley, meadow, and height,
From the deepening woods and the reddening sky—
Emerge this shadow, which is peace, and this ray, which is joy.
And now, as through the ravines
A little girl with eyes divine
And nimble bare feet worthy of Praxiteles
Herds her goat before her with a vine-shoot,
Here is what stirs within the exile's soul:

Alas! Not all is said, nor all is done,
Just because a trench was dug in the street,
Because a leader points to a wall where poor folk
Are lined up before the firing squads,
Because executions happen at random, blindly—
Without distinction, amidst the hail of bullets—
Fathers, mothers, the madman, the bandit, the sick,
And because the bodies of bloodied men and still-warm children
Are hastily consumed by quicklime.

*L'Année terrible*, Paris, 1872

– Text from a sign, translated using Google.

THE MEETING OF THE QUEEN OF SHEBA AND KING SOLOMON

Flemish tapestry, Tournai region, early 17th century
Height: 3.65 m
Width: 5.30 m

The scene takes place in a palace. The central figures are flanked on the left by armed men and an elderly man—likely a cleric—and on the right by a young boy presenting a parrot and a slave carrying an ewer. Various animals—including a monkey in the foreground, a lion, and dogs—enliven the composition. A prominent border of floral garlands runs along the top, featuring a central medallion identifying the scene. Very wide side borders—flanking the central drapery—feature large floral bouquets in the style of late 16th-century Northern painters, arranged in urns decorated with swans and masks. A wide floral border runs along the bottom.

Excellent state of preservation, regarding both the vegetable dyes-which remain remarkably vivid—and the weave.

Gift of the European Investment Bank,
the European Union's financial institution, Luxembourg

– Text from a sign, translated from French using Google Translate.

THE TROJAN WAR

Dimensions:
H. 3.35 m x W. 5.13 m

Place and date of manufacture:
Flanders – 16th century

Description:
Framed by a wide border featuring figures alternating with floral motifs, the tapestry depicts the most famous episode of the long siege of the city of Troy by the Greeks, led by Agamemnon.

The composition is organized into three distinct planes:

- In the background, the city of Troy is visible, flanked by massive ramparts that appear largely intact—though some buildings on the right side of the city are engulfed in flames.

- At the center of the composition stands the immense wooden horse, into which Greek infantrymen are climbing. Unable to take the besieged city by storm, the Greeks—advised by the cunning Odysseus built a colossal wooden horse, concealed armed soldiers within its belly, and withdrew to their ships, feigning abandonment of the expedition.

- In the foreground, within a broader panorama, a chaotic scene unfolds: women carrying chests filled with precious objects, and soldiers hauling away weapons or slaughtering civilians.

This final scene could represent either the Greeks' feigned departure or the subsequent sacking of Troy and the massacre of survivors following the horse's entry into the city; indeed, on the left side, a man can be seen carrying an elderly person on his shoulders. According to legend, this is the hero Aeneas carrying his father, Anchises.

– Text from a sign, translated from French using Google Translate.

VIANDEN: THE CASTLE
Vianden Castle stands on a hill above the River Our. Around 400 AD, the site was home to a Roman sentry post. In the Middle Ages - around the year 1100 - it became the setting for a habitable fortification. The castle later became the seat of the counts of Vianden and the centre of their territory. Over the centuries, the castle was enlarged and rebuilt. In 1820 it was for the first time not passed down through inheritance, but sold to a local burgher, who dismantled it and let it fall into ruin.

Over time, castles have changed in appearance because their meaning has changed: in the Middle Ages a castle fulfilled different roles than it did in the following centuries.

– Text from a sign in the museum.

WELCOME
TO VIANDEN CASTLE

Since the 11th century, Vianden has been the name of a formidable castle. Although the name's orioins are shrouded in mystery, the name itself blossomed quickly into the appellation of a county, a noble family, and a town.

Vianden Castle has changed significantly over the centuries. Even though the foundations and walls are built of stone, it is not a static monument. Traces of change can be seen in many places, from the masonry itself to the archaeological findings on this very spot in the bailey. The county, the noble family, and the town have changed as well. The county no longer exists. The name 'Count of Vianden' is held today as an honorific title. And the once sleepy seat of the count has been transformed into one of the most important tourist destinations in Luxembourg. The exhibition traces the changing meanings of Vianden

– Text on the wall in the background.

CRAFTS, GUILDS, AND MARKET
A town attracts people because it offers crafts and goods not available in the countryside. Medieval Vianden had cobblers, bakers, saddlers, barbers, and weavers as well as North Italian moneylenders. The artisans were organised in associations called guilds.

Vianden's market was another important economic factor. Here, traders and farmers from the region sold their goods, such as hats and textiles, salt and spices, butter and cheese, in addition to livestock and meat, grains and bread, nuts and vegetables, and wine and beer.

– Text on the left side of the display above.

THE TOWN WALL
The wall was a visible symbol of the town. It separated town from countryside; it was built, maintained, and defended by the residents; and in case of an attack it protected the town against enemies. Vianden's second, late-13th-century wall has been preserved. It is about 1.5 metres wide, up to 9 metres tall, 1,150 metres long, and was defended from 16 towers. People entered town through two main gates, while three minor gates permitted a quick exit to vineyards and fields.

– Text from a sign, translated using Google.

THE ALDERMEN'S SEAL OF VIANDEN TOWN
Archives générales du royaume, Brussels
Plaster cast

Many cities and towns, including Vianden, used a seal as a symbol of their autonomy. Instead of using their own motif, the burghers of Vianden used the count's coat of arms and were probably instructed to do so.

– Text below the seal in the photograph above.

WAS VIANDEN A FREE TOWN?
In 1308, Count Philip II gave the town of Vianden a letter of enfranchisement. This did not give the town independence, but rather represented an agreement that formalised the longstanding relationship between the burghers and the ruler.

It codified the inhabitants' rights as well as their obligations to the count, such as taxes and military assistance. The agreement also confirmed the burghers' right to organise and manage their own affairs.

– Text to the right of the display above.

VIANDEN: THE TOWN
Over the centuries, a town took shape at the foot of the castle. The counts fostered the settlement's growth because they expected higher tax revenues from the expanding population and trade. The settlement itself benefitted as well, gaining importance from its proximity to the count's residence and administrative centre.

Over time Vianden developed the key features of a town in the Middle Ages: a town wall that protected the citizens; a market and specialised craftsmen, stimulating trade and offering a range of goods; as well as churches and a hospital, dedicated to the inhabitants' religious and social needs.

– Text from a sign.

THE DISCOVERY OF THE WALL-WALK
When building historians studied the outside of this section of the curtain wall, they discovered traces of battlements. They uncovered the corresponding 13th-century wall-walk, as can be seen here, on the inside of the wall. That same rampart had been raised at a later stage and required a new, higher wall-walk. The old battlements were bricked up during that process and thus preserved to this day.

– Text from a sign, translated using Google.

THE FORTIFICATION OF A CASTLE
A castle with mighty walls, soaring towers, and heavily fortified gates made for an impressive and intimidating sight. From afar, they signalled the owner's power over the land and his subjects.

But walls, towers, and gates were not only symbols of power, but had specific defensive functions, just as many other areas of the castle did. The wall-walks, for example, are located on high curtain walls and gates, and they allowed the garrison to monitor the surroundings. In case of an attack, the battlements provided cover; the gaps between them allowed defenders to throw stones at the attackers or to shoot at them with crossbows.

– Text from a sign.

HOW TO HEAT A CASTLE?
In winter, cold moist air blew through the doors and openings of the castle. The thick stone walls were not insulated, and large amounts of firewood were needed to heat the living spaces. Fireplaces radiated heat only to their immediate surroundings. Especially large and elaborate fireplaces - as found in the 'Great Hall' of the main castle - underscored the prosperity and social status of the lord.

This fireplace was probably installed in the Middle Ages but transformed several times thereafter.

– Text from a sign to the right of the fireplace.

THE EXCAVATIONS IN THE BAILEY
To serve the castle's varied roles across its history, a series of buildings was constructed, demolished, levelled, and rebuilt in the bailey. At one location, the stones of an old wall were used to construct the large encircling curtain wall. The impact of a grenade in 1944 left a large hole where this passage turns toward the east. In consequence, archaeologists did not always know where exactly the found shards and charcoal remains came from, though they did manage to date these finds.

– Text from a sign.

WARNING!

Do not dislodge stones
Danger to valley residents
Friends of the Castle

Throwing stones is prohibited
Danger to the inhabitants of the valley
The Castle Administration

– Text from the sign in the photograph above, translated from French and German using Google Translate.

When "Benni" was still on its way
In 1889, the narrow-gauge railway between Diekirch and Vianden, later known as "Benni", was ceremonially inaugurated. Its exact length was 14.8 kilometres.

Due to rising operating costs, the maintenance of the railway could no longer be guaranteed until the railway company was finally taken over by the Luxembourg State in 1924. The state had the line completely renovated.

However, the operation was still not profitable and a closure became more and more likely. In 1948, the "Benni" finally ceased operation.

– Text from a sign, translated using Google.