The castle, which is essentially 16th century, received its facade design from 1832 thanks to the intervention of Heideloff. Heideloff drew on the design of the Old Schau in Nuremberg from the 14th century, which had been demolished in 1809, for the facade finish. This is not only shown by the battlements but also by the emphasis on the center through a gradation accompanied by branches with a central rose. Heideloff also shows himself to be a classically influenced architect, because here rigid symmetry prevails, while the Schau had the free window arrangement typical of the Middle Ages. (see: Old Schau / painting by Paul Ritter ) Note the rose motif, which was repeatedly formed in Nuremberg in the 14th century as an actual rose (i.e. the facade of the hall building of the old town hall in Nuremberg - design for the town hall facade from 1615 - or as a clock frame, as in the Schau, but also in the town hall in Sulzbach). (see comparison picture 2)

The castle, which is essentially 16th century, received its facade design from 1832 thanks to the intervention of Heideloff. Heideloff drew on the design of the Old Schau in Nuremberg from the 14th century, which had been demolished in 1809, for the facade finish. This is not only shown by the battlements but also by the emphasis on the center through a gradation accompanied by branches with a central rose. Heideloff also shows himself to be a classically influenced architect, because here rigid symmetry prevails, while the Schau had the free window arrangement typical of the Middle Ages. (see: Old Schau / painting by Paul Ritter ) Note the rose motif, which was repeatedly formed in Nuremberg in the 14th century as an actual rose (i.e. the facade of the hall building of the old town hall in Nuremberg - design for the town hall facade from 1615 - or as a clock frame, as in the Schau, but also in the town hall in Sulzbach). (see comparison picture 2)

The castle, which is essentially 16th century, received its facade design from 1832 thanks to the intervention of Heideloff. Heideloff drew on the design of the Old Schau in Nuremberg from the 14th century, which had been demolished in 1809, for the facade finish. This is not only shown by the battlements but also by the emphasis on the center through a gradation accompanied by branches with a central rose. Heideloff also shows himself to be a classically influenced architect, because here rigid symmetry prevails, while the Schau had the free window arrangement typical of the Middle Ages. (see: Old Schau / painting by Paul Ritter ) Note the rose motif, which was repeatedly formed in Nuremberg in the 14th century as an actual rose (i.e. the facade of the hall building of the old town hall in Nuremberg - design for the town hall facade from 1615 - or as a clock frame, as in the Schau, but also in the town hall in Sulzbach). (see comparison picture 2)

The castle, which is essentially 16th century, received its facade design from 1832 thanks to the intervention of Heideloff. Heideloff drew on the design of the Old Schau in Nuremberg from the 14th century, which had been demolished in 1809, for the facade finish. This is not only shown by the battlements but also by the emphasis on the center through a gradation accompanied by branches with a central rose. Heideloff also shows himself to be a classically influenced architect, because here rigid symmetry prevails, while the Schau had the free window arrangement typical of the Middle Ages. (see: Old Schau / painting by Paul Ritter ) Note the rose motif, which was repeatedly formed in Nuremberg in the 14th century as an actual rose (i.e. the facade of the hall building of the old town hall in Nuremberg - design for the town hall facade from 1615 - or as a clock frame, as in the Schau, but also in the town hall in Sulzbach). (see comparison picture 2)

The castle, which is essentially 16th century, received its facade design from 1832 thanks to the intervention of Heideloff. Heideloff drew on the design of the Old Schau in Nuremberg from the 14th century, which had been demolished in 1809, for the facade finish. This is not only shown by the battlements but also by the emphasis on the center through a gradation accompanied by branches with a central rose. Heideloff also shows himself to be a classically influenced architect, because here rigid symmetry prevails, while the Schau had the free window arrangement typical of the Middle Ages. (see: Old Schau / painting by Paul Ritter ) Note the rose motif, which was repeatedly formed in Nuremberg in the 14th century as an actual rose (i.e. the facade of the hall building of the old town hall in Nuremberg - design for the town hall facade from 1615 - or as a clock frame, as in the Schau, but also in the town hall in Sulzbach). (see comparison picture 2)

The castle, which is essentially 16th century, received its facade design from 1832 thanks to the intervention of Heideloff. Heideloff drew on the design of the Old Schau in Nuremberg from the 14th century, which had been demolished in 1809, for the facade finish. This is not only shown by the battlements but also by the emphasis on the center through a gradation accompanied by branches with a central rose. Heideloff also shows himself to be a classically influenced architect, because here rigid symmetry prevails, while the Schau had the free window arrangement typical of the Middle Ages. (see: Old Schau / painting by Paul Ritter ) Note the rose motif, which was repeatedly formed in Nuremberg in the 14th century as an actual rose (i.e. the facade of the hall building of the old town hall in Nuremberg - design for the town hall facade from 1615 - or as a clock frame, as in the Schau, but also in the town hall in Sulzbach). (see comparison picture 2)

The castle, which is essentially 16th century, received its facade design from 1832 thanks to the intervention of Heideloff. Heideloff drew on the design of the Old Schau in Nuremberg from the 14th century, which had been demolished in 1809, for the facade finish. This is not only shown by the battlements but also by the emphasis on the center through a gradation accompanied by branches with a central rose. Heideloff also shows himself to be a classically influenced architect, because here rigid symmetry prevails, while the Schau had the free window arrangement typical of the Middle Ages. (see: Old Schau / painting by Paul Ritter ) Note the rose motif, which was repeatedly formed in Nuremberg in the 14th century as an actual rose (i.e. the facade of the hall building of the old town hall in Nuremberg - design for the town hall facade from 1615 - or as a clock frame, as in the Schau, but also in the town hall in Sulzbach). (see comparison picture 2)

The castle, which is essentially 16th century, received its facade design from 1832 thanks to the intervention of Heideloff. Heideloff drew on the design of the Old Schau in Nuremberg from the 14th century, which had been demolished in 1809, for the facade finish. This is not only shown by the battlements but also by the emphasis on the center through a gradation accompanied by branches with a central rose. Heideloff also shows himself to be a classically influenced architect, because here rigid symmetry prevails, while the Schau had the free window arrangement typical of the Middle Ages. (see: Old Schau / painting by Paul Ritter ) Note the rose motif, which was repeatedly formed in Nuremberg in the 14th century as an actual rose (i.e. the facade of the hall building of the old town hall in Nuremberg - design for the town hall facade from 1615 - or as a clock frame, as in the Schau, but also in the town hall in Sulzbach). (see comparison picture 2)

The castle, which is essentially 16th century, received its facade design from 1832 thanks to the intervention of Heideloff. Heideloff drew on the design of the Old Schau in Nuremberg from the 14th century, which had been demolished in 1809, for the facade finish. This is not only shown by the battlements but also by the emphasis on the center through a gradation accompanied by branches with a central rose. Heideloff also shows himself to be a classically influenced architect, because here rigid symmetry prevails, while the Schau had the free window arrangement typical of the Middle Ages. (see: Old Schau / painting by Paul Ritter ) Note the rose motif, which was repeatedly formed in Nuremberg in the 14th century as an actual rose (i.e. the facade of the hall building of the old town hall in Nuremberg - design for the town hall facade from 1615 - or as a clock frame, as in the Schau, but also in the town hall in Sulzbach). (see comparison picture 2)

The castle, which is essentially 16th century, received its facade design from 1832 thanks to the intervention of Heideloff. Heideloff drew on the design of the Old Schau in Nuremberg from the 14th century, which had been demolished in 1809, for the facade finish. This is not only shown by the battlements but also by the emphasis on the center through a gradation accompanied by branches with a central rose. Heideloff also shows himself to be a classically influenced architect, because here rigid symmetry prevails, while the Schau had the free window arrangement typical of the Middle Ages. (see: Old Schau / painting by Paul Ritter ) Note the rose motif, which was repeatedly formed in Nuremberg in the 14th century as an actual rose (i.e. the facade of the hall building of the old town hall in Nuremberg - design for the town hall facade from 1615 - or as a clock frame, as in the Schau, but also in the town hall in Sulzbach). (see comparison picture 2)