Professor Dr. Julius Naue (1835-1907)
The Fate of the Gods from the German Heroic Saga (1877)
 & Helgi and Sigrun
Plus a Biography and Bibliography of the prolific History Painter.

See Also: Germanischen Heldenkönige der Völkerwanderung
Julius Naue by Jakob Wild Strum, 1856


Born June 17, 1835 (died 1907) as Julius Erdmann August Naue in Köthen, Julius Naue was a German painter, illustrator and archaeologist primarily known for his illustrations of archaeological subjects and historic Germanic costumes. He also executed at least three murals based on Nordic myth and legend in private homes.  At present, these works appear to be lost leaving few traces in the public record, other than detailed descriptions of those works in Paul Hermanowski's  Die Deutsche Götterlehre und ihre Verwertung in Kunst und Dichtung, Volumes 1-2 "The German  Mythology and its Use in Art and Poetry" (1874).

Due to unfortunate circumstances, he was unable to devote himself to art until late. His curriculum vitae shows that Naue left the high school in his hometown Köthen at the request of his parents without a degree. He completed an apprenticeship as a bookseller in Köthen, then in Nuremberg with August von Kreling, and later in Munich with Moritz von Schwind for artistic training.  As a student of von Kreling, Naue mainly studied nature and Albrecht Dürer whose great passion he later reproduced as woodcuts. He moved to Munich, where Moritz von Schwind accepted him among his students. Naue came to work for von Schwind in Munich where he remained until 1866. His first picture under the direction of his new master was an Annunciation of the Virgin, which received general recognition at the exhibition of the Historical Art Association in Prague in 1862. With his picture "The Nordic Saga" (watercolor, 1864) , he entered the realm of Romanticism. This was followed by his The Toad Ring in 1865. In recent times, he composed 8 cartons for frescoes for the Villa Lingg —figures from Lingg's epic depicting the Great Migration in the spirit of the poem. After his master's death in the late 1860s, Naue executed a third variant of Schwind’s Cinderella cycle, presenting  his audience with six monumental paintings retelling the gripping story of Cinderella, her brave suffering and glorious redemption. He co-authored a biography of von Schwind and also made etchings and drawings for woodcuts after Moritz von Schwind, painted cycles of epic murals in private residences based on Greek and Germanic mythology, as well as embarked on archeaological endeveavors. Naue devoted himself to more detailed studies, partially ancient, especially Greek, numismatics partially the pre-Roman antiquities of Bavaria; his work in these fields was the basis upon which he applied for a doctorate of philosophy at the University of Tübingen in 1887.  

[Source: Mark Schmidt, Alte Akten – Neue Gräber? Marginalien zu Julius Naue und Johannes Dorn, 2006.]


 The  Last  Apprentice of Moritz von Schwind
An Introduction to Germanic Mythology

In 1864, Julius Naue painted 
Moritz von Schwind's  illustrations for Schloss Hohenschwangau. The reconstruction of the old Hohenschwangau Castle on the Tyrolean Bavarian border, which the Crown Prince Maximilian of Bavaria arranged, created room for a large number of compositions to be performed there.  Schwind was entrusted with the drafts and he set to work
with his assistant Julius Naue.

This extremely rich cycle begins with Norse mythology. Two connected rooms contain the visit by the spring god to Hertha the Earth, who receives him with her earth and water spirits according to the Edda. This is followed by representations from the Wilkina- and Niflunga sagas; above doors the individual floating figures of  Sintram, who is carried through the air by the dragon, until Dietrich and Fasold free him and Wieland escapes on  self-made wings.

Wieland der Schmeid 
Mortiz von Schwind
Illustration for Schloss Hohenschwangau (1864)
Julius Naue for Moritz von Schwind 
Then individual female figures: King Nidung's daughter with the ring, or perhaps Isolde with the ring who wears the love stone, Herburg with the apple and another figure, the romantic adventures of Osantrix and Oda, Herbart and Hilda. The artist continues on in the story of Dietrich von Bern. A larger picture, landscape format, shows how he mediated the duel with Wittich the Strong. Hildebrand enters into friendship with his opponent. Pictures, slightly smaller in height show how Dietrich and Hildebrand admire the Nagelring sword, which was coersed from the dwarf Alpris, and prepare to kill the giant couple Grim and Hilda with it, while the dwarf looks on from the rock. A room of the same size contains the Raven battle [die Raben schlacht] in which Erp and Ortwin are slain by Wittich.Then individual female figures: King Nidung's daughter with the ring, or perhaps Isolde with the ring who wears the love stone, Herburg with the apple and another figure, the romantic adventures of Osantrix and Oda, Herbart and Hilda. The artist continues on in the story of Dietrich von Bern. A larger picture, landscape format, shows how he mediated the duel with Wittich the Strong. Hildebrand enters into friendship with his opponent. Pictures, slightly smaller in height show how Dietrich and Hildebrand admire the Nagelring sword, which was coersed from the dwarf Alpris, and prepare to kill the giant couple Grim and Hilda with it, while the dwarf looks on from the rock. A room of the same size contains the Raven battle [die Raben schlacht] in which Erp and Ortwin are slain by Wittich.
[Additional Pictures from this work are found on this page below]
In 1865, Naue's Die Nordische Saga, in three pictures and a relief.

In 1873-74, Naue revisited von Schwind's Cinderella, painting it on six panels in the ballroom of the Roman House in Leipzig  in wax colors.
Moritz von Schwind's
Der Bilder-Cyclus zum Märchen vom Aschenbrödel (1873)
The Picture Cycle of the Fairy Tale Cinderella


Pictures 5 and 6 from the Cinderella Cycle (Aschenbrödel-Zyklus)
by Julius Naue in Ballroom of the Roman House in Leipzig, 1873-74.  

        The documents for Julius Naue's doctorate are kept in the archive of the University of Tübingen under the filename 131/37b, no. 8. These consist of the doctoral application, a curriculum vitae in both German and Latin, an expert opinion written by Ernst von Herzog —a professor of classical studies and the decision of the faculty.  In the biographical Curriculum Vitae dated Janauary 1887, Julius Naue writes:
"Born on July 17th, 1834 in Cöthen in the Duchy of Anhalt (as the only son of a Country doctor), I received a very careful upbringing and attended the local High school with good results and studied anatomy with the late Dr. Carl Schmidt, best known as an anthropologist and pedagogue. Even as a boy I had a keen interest in art and science, and so it was my dearest wish to be able to devote myself to one or the other. It was only my parents' express will that led me to the book trade, which I learned in Cöthen and worked as an assistant in Nuremberg, Antwerp and Danzig for a few years. Yet I used each free hour to try out fine arts and to study philosophy, history, greek, roman, german and norse mythology, anatomy, perspective etc., which gives me the urge to devote myself entirely to art, in the end like this.

"It became so irresistible that in 1856, I went from Danzig to Nuremberg, where for five years I studied restlessly at the Royal Art school under A. Kreling’s direction, but at the same time the aforementioned disciplines continued to occupy me, especially the German and Nordic mythology. In 1860 I moved to Munich, where I was given the opportunity to work in Nuremberg for Kreling, producing copies under Kaulbach’s direction of Albrecht Dürer (published by J. Zürer in Nuremberg), which immediately got me accepted into the studio of Professor Moritz von Schwind. I was the last and, I may say, most preferred student of the great master; it was he who introduced me to great historical art, and when he dismissed me from his school he remained a fatherly friend to me until his death in 1871. During my years of study with him, I also had the anatomical lectures of Professor Dr. J. Kollmann at the art academy.

"In the years 1865 to 1886, during which I also made repeated study trips to Rome, Florence, Ravenna, Paris and other important homesteads of art and science, I carried out numerous smaller works - paintings, etchings, drawings for woodcuts —the following picture cycles from:
1) The legend of Emperor Heinrich I and the Princess Ilse in three large watercolor paintings. in the Owned by Mr. O. Mai [...] in Berlin.
2) The story of the great migration; 15 large charcoal cartoons. Published in photographs in 1874, in 2 editions (a large one from J. Albert here and a smaller one from Franz Leyde in Nuremberg).
3) The six hero kings of the Germanic Tribes' Great Migration together with the "mourning Roma" and the "triumphant Germania", two great doors, in almost life-size figures painted al fresco in the Villa H. Lingg near Lindau.
4) The legend of Prometheus. Watercolor fresco owned by Mr. A. O. Meyer in Hamburg.
5) from German mythology: "The Fate of the Gods". Large watercolor frieze of around 10 Meters in length owned by Mr. A. O. Meyer in Hamburg.
6) The fairy tale of Cinderella; 6 pictures in the ballroom of the "Roman House" of Dr. G. Friederici painted in wax colors in Leipzig.
7) from the Edda: "Helgi and Sigrun", 8 pictures with 2/3 life-size figures painted al tempera in the hall of Wahlow Castle near Malchow in Meklenburg.
"All of these works were favorably assessed by art critics. The comprehensive historical studies which I have made for the purpose of the conception and execution of the made the aforementioned works, and the scientific suggestions I had with the artistic ones on my travels led me to the ancient, especially Greek Numismatics, to which I devoted several years in addition to my artistic creations, and in which I acquired so much and thorough knowledge that my name in numismatic circles is mentioned with appreciation."
[Source: Mark Schmidt, Alte Akten – Neue Gräber? Marginalien zu Julius Naue und Johannes Dorn, 2006.]
The Legend of Kaiser Heinrich I and the Princess Ilse (1867) 
A Picture Cycle in Frieze Form
  Julius Naue

 The Legend of Kaiser Heinrich and Princess Ilse, painted in watercolor, in three parts, is signed in the lower right "J. Naue 1867". The five-part tapestry frieze is set in the forests of the Harz Mountains, depicting scenes from the Harz saga trilogy of Princess Ilse together with legendary episodes from the life of the Saxon king Heinrich I. On both sides, at the foot of mighty oak trunks, sit two allegorical female figures:  on the left Saga, the one who is listening to "tales from the distant past" told by the Saga, looking up from a scroll on the right. The pictures of the carpet frieze show the following scenes from left to right:

    1. While hunting in a grotto, young Heinrich meets Princess Ilse, a fairy.
    2. The Princess Ilse instructs the attentive Heinrich and inaugurates him as the future King of the Germans.
    3. The main picture shows King Heinrich I as a “town builder who lets the inhabitants of pillaged estates and villages move into a newly built town.
    4. Princess Ilse hovers over the river in the peaceful Ilse valley, lined with castles and towns, with arms open to protect.
   5. Princess Ilse floats above Heinrich's deathbed. His second wife Mathilde sits mournfully at the dying man's feet, the grown-up princes Otto, the successor to the throne, and Heinrich, Duke of Bavaria, stand at his hips; next to the father kneels the youngest Prince Bruno, later Archbishop of Cologne.

The Munich City Museum owns twelve sheets with drafts and detailed sketches in pencil and pen and ink. The lively Eichnerian freedom of this preparatory work is largely reduced in the watercolor frieze and now allows Naue's scholarly bond with his teacher Moritz von Schwind, in whose workshop he was active from 1860 to 1866, to emerge more strongly. Immediately after completion, the frieze was shown in the Munich Art Association in 1867, at the 3rd General German Art Exhibition in Vienna in 1868 and at the International Art Exhibition in Munich in 1869.

Source: .p
df file 
    Germanic Hero-Kings of the Migration Period
Germanischen Heldenkönige der Völkerwanderung
Villa Lingg, Lindau im Bodensee (1868)
Julius Naue

 Of the frescoes on a gold background in a hall of the "Villa Seewarte" (aka Villa Lingg) of the Munich merchant Heinrich Lingg near Lindau on Lake Constance.  Dr. Konrad Ritter von Zdekauer in his  Kriegs- und Friedensfahrten, Band 1, (1881) observes:
"Here, at the place where the poet Hermann Lingg wrote his mighty epic, 'Der Völkerwanderung' his brother, the art-loving merchant Heinrich Lingg, erected a memorial to this most important of the recent national heroic poems, otherwise only donated through princely patronage. Lingg let Julius Naue, a pupil of Schwind, paint frescos of the most prominent figures of the migration as their subject in the hall of his country house. When you enter through the vestibule, you can see the youthful Germania and the aged Roma which has been overcome, on the walls on both sides of the window. On the opposite side, these figures are aptly pronounced, the painter has based their characterization wholly on the poetry presented with great understanding."
   In 1868,  the wealthy merchant Heinrich Lingg, the brother of the German poet Hermann Lingg [pictured], had returned from America and bought a plot of land in a beautiful bay on Lake Constance near Lindau and built a villa on it. When the building was finished, he privately commissioned Julius Naue to adorn the principle chamber of Villa Lingg with eight monumental frescoes, each seven feet in height, illustrative of Lingg's popular poem, Die Völkerwanderung (The Migration of Peoples).Hermann Lingg A trip to the old Italian city of Ravenna was planned for the studies necessary for the paintings in the company of Hermann and Heinrich Lingg. The city is particularly strange and alluring for Germans. Here the Cheruscan Arminius son was brought as a prisoner, kings of the Goths and Longobards ruled here, and in Verona the heroic songs of the Migration Period were heard at court. The stories of Alboin and Dietrich von Bern reside there, because Bern was Verona. According to Hermann Lingg's diary, they had a very comfortable stay, visiting old Byzantine churches with their portraits of people, the districts named after the Goth king, his tomb and the remains of his palace. On the way home, they visited Florence, where they admired the galleries, then returned to Germany without further stay. Afterward, Naue remained in Lindau to apply the studies made in Italy to his frescoes in Villa Ling. 

That same year, painter Julius Naue exhibited eight cartoons at an art expo in Munich which were to be painted al fresco in the villa of the merchant Lingg in Lindau. The subject is composed of the most outstanding heroes from the Great Migration. The walls to the hall entrance will be decorated with figures representing Rome (Roma), Germania, and six great Germanic Hero-kings of the Migration period [Die 6 grössten germanischen Heldenkönige der Völkerwanderung], including Alaric at Rome, Odoacer surrendering Ravenna to Theodoric, the Frank  Chlodwig, the Lombard Alboin, Geiserich the King of the Vandals, and other chief personages and events of that era.   These figures with their characteristic emblems stand in round arches around which festoons wind, and show good characterization, Chlodwig and Albion are especially well executed.  Ferdinand Gregorovius, a vistor to the home in late September of 1868 remarked, "Visited the villa of Lingg, a merchant and brother of the poet of Völkerwanderungen. He has some of the barbarian kings of the poem painted in fresco in his room beside the Germania and Roma of which he seems not a little proud." 

Today Villa Lingg, at Schachener Straße 103, Lindau im Bodensee, is described as the former summer residence of the physician Heinrich Lingg, a late classicist cross-gable building after the mid-19th century,  with flat gable roofs projecting on the lakeside, Belvedere structure with tower of stairs; interior frescoes by Julius Naue around 1870; associated greenhouse and octagonal bathing house on the harbor.   So all or some of the frescos are still there. 

(Source: Über Land und Meer: allgemeine illustrirte Zeitung 1868).

1872 Red pencil drawing of Amalasuntha,
Daughter of the East-Gothic King, Theoderich the Great
Katalog der Internationalen Kunst-Ausstellung zu München
, 1879

Eight Cartoons to the Frescos for the Villa Lingg by Lindau:

  480. The Mourning Roma
481. The Triumphant Germania
The 6 Germanic Hero-Kings of the Great Migration:
  482. Alarich, King of the West Goths
483. Geiserich, King of the Vandals
484. Chlodowig, King of the Franks
485. Alboin, King of the Lombards
486. Odoaker, King of the Hercules
487. Theodorich, King of the East Goths

The main hall contains a row of eight 7 foot high frescos with two great doors as their connecting links , painted gray on gray, with the scenes the "Storming of Rome by Alarich" and the "Surrender of Ravenna from Odoaker to Theodorich".

 Opposite the entrance on the south wall, ones gaze falls on two female figures, the personifications of the then-opposing political, social and cultural forces, the old mourning "Roma" and "Germania", radiant with a youthful freshness and volatility. The aged Roma, with a grief-stricken face, leans with her right hand on a broken pillar shaft, still holding on to the peeled laurel, while the left lies over her mournful head, the crown of the world ruler has fallen from her forehead and lies broken next to the scepter at her feet. How youthful, on the other hand, Germania shines across from her, a graceful, charming figure, her golden head wrapped in oak leaves, her eyes dazzling.


     Architectural Drawing for Villa Lingg (1868)

The Mourning Roma (Left) and the Triumphant Germania (Right)
Four motifs: Roma, Germania, Odoacer, and Theodoric, each titled and dated 4 June 1867.

Then on the west wall the curly blonde Eastgoth Alarich and the Vandal Geiserich follow, the first in stoic demeanor, the other in violent motion. Alaric has a wolfskin thrown over his shoulders as a mantel, leather hugs his body tightly, and over it his armor. His head, which bears the royal crown, tops a wonderfully powerful figure that leans on his halberd, which appears to have grown out of the ground.

Quite different is Geiserich, whose raw Vandal-nature is expressed in the broad structure of his body and his impetuous, passionate mood. His right foot rests on a broken column. In his right hand, he holds a mace raised menacingly, with a wild excitement in his eyes, his whole being breathes obstinacy. His is the barbarianism that resorts to brute force. He wears a long garment with oriental ornamentation, the cloak thrown over it flutters behind him, his head is covered by the Phrygian cap, over it is the crown of Jugurtha —the barbarian on the throne.

Albion, The King of the Lombards
The Hero-Kings of the Migration Period

Geiserich the Vandal King
The Hero-Kings of the Migration Period


The north wall is occupied by the Franconian Clovis [Chlodwig, Chlodvig] and the Longobard Alboin, along with the Germania, perhaps the best and most characteristic figures of the entire cycle. The seriousness that the figure Clovis exudes is enhanced by the dark, heavy color in which it is painted. On his troubled forehead one can read his many internal struggles.  A luminous figure, on the other hand, is that of the Lombard king, Alboin, who stands in youthful beauty and strength, with a holly wreath wrapped around his head, holding a lyre with his left hand, while his right holds up the fateful cup. At first glance one recognizes the multiple relationships which the artist has expressed, since Rosamunde inadvertantly comes to mind.

Albion, King of the Lombards


Theodorich, King of the East Goths

The final figures of Odoacer, Prince of the Herules, and Theodoric the Great adorn the east wall.  Calmness, prudence, and awareness of his goals and objectives characterize the German prince, who delivered the fatal blow to the long withered Roman power, and initiated German world domination for hundreds of years.  In Theodorich, the legislature appears to be understood by the scroll he holds with its motto: "Qui amat justitiam amat me" ("Who loves me, loves justice"). The individual images are on a gold background with decorations corresponding to the time, executed within Roman arches over which garlands of flowers and fruits are hung. 


The Story of the Great Migration: A Picture-cycle, 15 charcoal cartoons, 1871

Die Geschichte der Grossen Völkerwanderung
In the years 1869–71 he drew 15 large cartoons on the History of the Age of Migrations (reproduced in collotype):
  1. The Mourning Rome
2. The Triumphant Germania
. Alaric is proclaimed King of the Visigoths in Greece, 398

4. Alaric is buried in Busento and mourned by his people, 410
5. Radegast, Duke of the Vandals, is captured, 407
6. Radegast is imprisoned in Ravenna on the orders of Emperor Honorius, 407
7. The Battle of the Catalan Fields, 451
8. Attila, the King of the Huns, is found choked in blood on the morning of his wedding, 453 Holzschnitt Illustr. Zeitung, 1875.
9. The Germanic princes celebrate the liberation from Attila's yoke at Theudomir in Pannonia and greet little Theodoric as King, 455
10. Odoacer at St. Severin 476
11. Theodoric the Great and the Ostrogoths Entry into Italy, 488
12. Theodoric by the body of Odoacer, who was murdered in anger by him, 493
13. Vitigis his sisters and aunties are brought before the deadly ill Empress Theodora as prisoners by Belisarius in Delphi, 537
14. An old sorceress shows Roman warriors the Gothic king Totilas, who fell in battle, 552
15. Tejas is proclaimed king of the Ostrogoths in Italy, 552

The Complete Cycle Comprises 15 Cartoons. [view here]

Attila, the King of the Huns, is found dead (1875)

 In 1872-1873, for Arnold Otto Meyer in Hamburg, Naue executed in watercolor  a three-part Prometheus-cycle: The Theft of Fire, the Bound Prometheus with the Oceanids weeping, and the Liberated Prometheus.  In 1873, the deluxe edition of Eduard Mörike's Historie af den Schönen Lau ("The Story of the Lovely Lau") appeared with Naue's outline etchings for illustrations designed by Moritz von Schwind.  In 1874, he spent the winter in Rome.


Compositions of Moritz von Schwind for Eduard Mörike's "The Story of the Lovely Lau."
the outline etchings of Julius Naue (1868)
Das Schicksal der Götter nach der Deutschen Heldensage (1877)
—The Fate of the Gods from the German Heroic Saga—
      "A large and very lovely Fresco-cycle"

Die Haus Hauhopen
The personal residence of Arnold Otto Meyer

      From 1874 to 1877, Julis Naue completed, "the large and very lovely" Fresco cycle: Das Schicksal der Götter nach der Deutschen Heldensage ("The Fate of the Gods from the German Heroic Saga") in the private home of the wealthy merchant Arnold Otto Meyer in Hamburg. The series consisted of 11 sections with lunettes, stichkappes and zwickels overtop the main frescos. The work was begun by Naue in watercolor during his stay in Born in 1874, then realized in 1877 for Arnold Otto Meyer. Although no known pictures of this work survive, the scope of the fresco cycle can be reconstructed from a description it in Die Deutsche Götterlehre und ihre Verwertung in Kunst und Dichtung, Volume 1 (see below).   

Arnold Otto Meyer's country home (Landhaus), held an imposing collection of art, paintings, graphics and drawings by artists of the 18th century from the collection of his grandfather Johann Valentin Meyer which he had inherited, and works by contemporary artists of the 19th century, whom he knew personally, including Overbeck, Veit, Führich, Genelli, Koch, Reinhard, Friedrich Preller [painter of the Odyssee-Zyklus], Ludwig Richter, Peschel, Morgenstern, Julius Schnorr von Carolsfeld, Jacob Gunther, Martin Gensler, Charles and John Gehrts, Julius Naue, Neureuther, Anselm Feuerbach, and Moritz von Schwind.  He kept whole volumes, each of which was dedicated to an artist. At the time of Schwind's death, Meyer had over 200 of his drawings.  Fr. Preller, C. and J. Gehrts, as well as Julius Naue painted friezes on its interior. 

From 1875 to 1877, Schwind's pupil, Dr. Julius Naue of Munich, completed his series of frescos,  Das Schicksal der Götter nach der Deutschen Heldensage ("The Fate of the Gods from the German Heroic Saga"), depicting the lives of the Germanic gods from the beginning to the end and their resurrection, on the interior walls of Meyer's home. The work is now entirely lost.
 Die Haus Hauhopen at Wrangelstrasse 20, Hamburg-Othmarschen was built in 1872-1873 by L. H. M. Breckelbaum of yellow brick (Rüdersdorfer limestone) in Gothic-style for wealthy merchant and art collector Arnold Otto Meyer.  The  doors, stairs and ceilings were careful reproductions of Italian prototypes. He had embroidered carpets hung at the height of the parapet for his wall and ceiling murals of a festival. The stained glass windows in the hall and on the staircase were copies from his collection.   Meyer was a sociable man and loved to celebrate. The home was continually occupied by his wife Luise Caroline and their five children, daughters Magdalena, Helene Emilie, Luise Emerentia, and Meta Sophie Emerita, as well as their eldest son Eduard Lorenz. There were always friends and artists about. The family lived in the Villa Hauhopen in Hamburg-Othmarschen, Heubergskamp and at Ernst-Merck-Straße 5. Recently, a handwritten diary from Hamburg, dated 1879-1884, has surfaced for sale, written by Emerentia Meyer (October 21, 1861 in Hamburg; died 1944), a daughter of Arnold Otto Meyer (1825-1913), businessman, art collector and politician, and his wife Luise Caroline, b. Ferber (1833-1907). Unfortunately Emerentia only wrote very sporadically and briefly in her diary during this time at Haus Hauhopen.

Wrangelstrasse in Elbdorf Othmarschen was incorporated into Hamburg in 1938, and has been called Liebermannstrasse since 1947.
The renaming was probably accompanied by a renumbering. The villa should have been on the Elbchaussee. Meyer's collection of German nineteenth-century drawings was sold in 1914 at C.G.Boerner, Leipzig, 16-18 March, in 870 lots.

The Nordic Gods
Bavarian State Painting Collections
  As one contemporary reviewer (1878) characterized it: "In the same exhibition, Messrs. Bismeyer and Kraus offers us another great by J. Naue in Munich. 'The Fate of the Gods' provide material for a thorough study of old German mythology. Magnificent motifs offer completely new stimuli for the imagination but these Nordic sagas will, if properly understood and treated, make a true enrichment of our artistic life. We doubt whether Naue will succeed in unlocking the locks, because no matter how interesting some compositions are, how beautifully grouped, the figures in the spandrels or the semi-circular arches are so peculiar and most of them more strange than admirable."

The images of this monumental fresco-cycle are seemingly lost. The entire work was described in detail by Dr. Paul Hermanowski for this book  Die Deutsche Götterlehre und ihre Verwertung in Kunst und Dichtung, Volumes 1-2 "The German  Mythology and its Use in Art and Poetry", (1891), allowing us to see the scope of Naue's masterpiece.  The work contained 11 main painted panels, as well as accompanying art in the stichkappe and zwickels above the scenes. The work itself appears to have been lost, perhaps in war.
Unfortunately, no photos or drawings of this work have survived. The accompanying pictures are only intended to give an idea of Naue's style.
Artistic Interlude:
Images from: A Reconstruction of Historic
Costume: The Germans (1894)

Six murals from prehistoric cultural periods executed in watercolors by Julius Naue.
Plate 1. Older Bronze Age (The White Woman)

Plate 2. Older Bronze Age (Tribal Chieftian)
Plate 3. Younger Bronze Age (Rich Woman)
Plate 4. Hallstatt Period (Tribal Prince)
Plate 5. Hallstatt period (Rich Girl)
Plate 6. Migration period (Young Bavarian Prince Hortari)
"Professor Dr Julius Naue has now undertaken to design a continuous series of six pictures for the main sections of the entire Upper Bavarian prehistory, which have been published in lithographic color prints based on his watercolor cartoons. The scale chosen by him, two thirds natural size, ensures clear visualization and will not allow even the non-scientifically trained observer to overlook the smallest pieces of jewelery. The representations are shown in such a way that one will recognize them from real excavations as well as from museums, and it is intended that the impressions should stick in the memory of growing youths. These cartoons are also suitable as a contribute to the preservation of the remains of our prehistoric times and are especially useful for schools. The individual figures are presented and the vast majority of them in a calm posture without any distracting accessories and without drawing the eye through the richness of color of the robes of the men and women, which of course had to be added by the artist."
—Armin Tille, Deutsche Geschichtsblätter, Vol. 7-8 (1894), p. 113.
The Older Bronze Age:
The White Woman 
The Older Bronze Age: 
The Tribal Chieftain 
The Younger Bronze Age:
The Rich Woman


The following account is Dr. Paul Hermanowski's description of the fresco-cycle at Haus Hauhopen from 1891:
        In a semi-circle above the frieze, the three Norns sit. Verdandi writes on a golden shield. Urd looks back, holding onto the writing. To the right Skuld, the youngest, holds an unwritten shield.

The frieze itself begins on the left with a painting of Hel. The mistress of the underworld sits in front of a cave entrance in a dark robe, her face grim, eagerly awaiting the arrival of new, silent guests.  Her staff is to the left of her and a red-brown cock roosts a little higher on a stone.

The next picture shows the joyous Aesir in the Age of Innocence, when they lived without restrainst and without longing. They play games on the serene Ida-field and throw lots for prophecy. We now see in the picture, the Aesir at their favorite ball games; Baldur the beautiful looks on. Right of Odin, occupying the center of the group, Thor sits with red hair and beard. Loki, sits to the far left. He listens and looks off into the distance, where three giantesses, the three weird sisters, approach with an evil gift, the gold. 

On the next painting, the Aesir are sorrowful and afraid before the strange gift that Verdandi reveals to them. But Odur, who dwells with the gods because he has married Freyja, looks over with greed at the shiny commodity. Loki fans his greed even more. Together with Loki, Odur now tries to steal the treasure. The Norn, Skuld, catches him and leads him while Loki falls to the ground, atoning for his crime. This is the subject of the fourth image. Odur had chosen the night for his plans. In the early morning, as Freyja wakes up, she finds her husband gone. Wailing, she raises her hands up over her head. Loki, the evil one, is bent on further misdeeds.
A Reconstruction of Historic Costume: The Germans (1894) 
Hallstatt Period:
Tribal Prince 
Hallstatt Period:
The Rich Girl
The Migration Period:
Young Bavarian Prince Hortari
 The most handsome and most beloved of the Aesir is Baldur, blameless and pure of mind. And yet, he will be first of the gods to die. Bad dreams warned him that he will die soon. His mother Frigg takes oaths from all things and beings not to harm her son— all except a small mistletoe shrub that grew on an old oak tree, that she had  taken as too young and too weak to recite an oath. Loki learned of this. To the delight of the gods, Baldur always remains unharmed whenever they shot at him with spears.

Loki reached Baldur's
brother, the blind but strong Hödur, whom Frigg also bore to Odin.  Loki has the mistletoe made ​strong by his magic, and invites Baldur's brother to offer him honor, as everyone else does, and to shoot at him. He directs Hödur's aim and Baldur falls to the ground dead with an arrow to his heart as shown in the sixth image. His wife Nanna also dies. Grief rips through her body. Horrified, Frigg tears her hair. The gods and goddesses are crying. Thor raises his hand, threatening Loki.
The Legend of Kaiser Heinrich I and the Princess Ilse (1867)
 The Beginning and End panels: Saga  listens to (left), and records (right) history.
Loki flees full of malicious glee. But Odin, Thor and Heimdall track him. Hidden away in a waterfall, they find him. But then he escapes as a salmon into the water. Thor grabs it and holds him in spite of all his curling and bucking. The seventh picture illustrates this.

The following picture shows Loki's punishment. He is tied to a piece of rock. He lies there in his actual form, a venom-dripping snake hung above his head. Standing next to him, his wife Sigyn kneels over his face holding a bowl to catch the poison drops. So he lies until the twilight of the gods.

The final battle can be seen on the next painting. The Aesir arm themselves. Heimdall, sitting on the rainbow bridge, hears the cry of the red-brown cock and blows the Gjallarhorn. His red and yellow hair blows about wildly. With one hand he points downward, where giants with fists raised against the gods, already approach, storming the castle. Close beside him is Tyr, the youthful god of war. He grips his sword tighter. Beside him, as the first against the giants, sits Vidar, Odin's avenger. Above Heimdall, Freyja, clad in shield and falcon dress, flies ahead like a Valkyrie to the pending fight. Thor is close behind her, the belt of strength around his waist, the hammer in his iron-gloved right hand, and the left comforting his wife, Sif.  Full of anxiety, she has sunk to her knees. Odin is behind Thor, holding the spear Gungnir upright in his hand.  A helmet covers his white head, and his two ravens sit on his shoulders. To his left, Frigg kneels silently. Gefion holds her head in her bosom. In the background Freyr, also armed with helmet and spear, embraces  his wife Gerda, the daughter of the giant Gymir, farewell. She clings lovingly to him.

Julius Naue for Moritz von Schwind
Illustration for Schloss Hohenschwangau (1864)

Naue does not represent the battle on the Vigrid feld. "Der seligen Götter Wiedersehen in Walhalla" ("The Blessed Gods Farewell to Valhalla") is the title of the last group of images on the frieze. The fiends are cast down forever, the gods are happy again and cheerful as in the time of innocence. On Freyja's hand, we see Odur who was seriously punished for his sacrilege. Bragi, god of poetry, brings back Idun, who as Ragnarok began fell into the dark depths of the night, with the golden apples of the gods. Wreaths surround Bragi's gray head. Baldur, who is kneeling in front of Idun, receives the first rejuvenating gift from the goddess' hand, at the request of Nanna, who is next to him. Freyr and Gerda, who are next, approach, as Sif and Tyr, are next in the background. Ægir the old, who has leisurely taken a seat at the table looks upon them benevolently, as well as the Queen of Heaven Frigg, who now wears a crown, and Vidar. Odin, carrying his scepter sits on his high seat at the head of the table, while Thor, sitting opposite to Ægir, dedicates the cup in his hand as a welcoming drink. His left hand lifts the cup high, the right holds a pitcher.

As the frieze began with Hel, the daughter of the jötun-woman Angurboda, so too it ends with the image of a giant, namely Hräsvelger, who sits on a rock towering into the clouds, causing the storm winds to blow over earth. Big and strong is the construction of his unclothed body.

(Triangular piece)


Julius Naue for Moritz von Schwind
Illustration for Schloss Hohenschwangau (1864)
 Above the frieze are small pictures painted in the lunettes and stichkappes, which further explain and compliment the images of the frieze below. The first lunette on the left above the image of Hel shows "Night," not driving in a car over the earth, but as a semi-veiled female figure in a sitting position.
Then in the zwickel follows "Saga," like "Night," who is youthful with a flowing veil. She holds a scroll resting on her right leg. She reaches down and writes with a pen in her right hand.

The Queen of the Night
Moritz von Schwind, 1865
Saga, playing harp
Julius Naue

 The Queen of Night
Moritz Von Schwind, 1865
The next lunette shows us "the Old Woman in the Ironwood" as she feeds Fenrir's brood. The gods had chained the Fenris Wolf, but they forgot its offspring— the wolves Sköll and Hati, reared by a giantess in the iron forest to devour the sun and moon. The two creatures greedily devour bones,  which she puts in their mouths.

On the following zwickel, which is above the second painting, we see Frigg, Odin's wife. She has golden hair.  In her right hand, she holds a  scepter. Jewelry adorns her neck.

The next lunette shows the giant Egdir (Eggthir) with the harp.

In the following zwickel, we find Frigg shown with her foremost servant Fulla.
She keeps the goddess' jewelry-box and tends to her footwear. Therefore, she kneels at the feet of her mistress.

 Sage von Krötenring/ The Story of the Toad-Ring (1865)
Julius Naue
The next lunette shows Mimir and his sons. He sits at the well of primeval wisdom, drinking the holy water every day, multiplying his knowledge. Odin himself came to Mimir, who gave him a drink from the fountain of wisdom, in exchange for one of his eyes in pledge. From the crescent-shaped horns, which Mimir uses to draw water, he drinks. His three sons, their heads wreathed with reeds, lift him half out of the water.

Now follows in the zwickel "Holda, the Spinner." In the north, in Sweden, Frigg, the goddess of marriage and the hearth, is both the teacher and patron of spinning. Still in the mouths of the people, the three stars which form the belt of the constellation of Orion, are known as "Frigg's distaff." In central Germany, the goddess is called Holda or Frau Holle.  In her left hand she holds the distaff, while holding the coil of thread in her right.

Die Schöne Melusine: Das Heiligtum  
Moritz von Schwind

In the next zwickel, "Holda, the protector of the unborn child" is represented. A number of small beings wriggle on her bosom, and she waves a large cloth over her head, to protect the little ones. She was the protector of the unborn or prematurely deceased children. She waits in the depth of wells and lakes where she has gardens and meadows. Still today we hear of fountains and lakes from which the stork or in Low German the "child-bringer" brings up the children's souls, as they enter into the physical world.

Holda lived in wells and lakes. And so, in the next zwickel,  Naue shows "Holda climbing down into her bath." No robe envelops her limbs, but almost to her feet, her yellow hair wraps about her. Happily, she combs it after her bath.  Between the first and second zwickel is a picture of Holda.

The lunette represents how the giant robbed the sleeping  Thor of his hammer. To the left, we see Thor and his wife Sif napping, while on the right, the giant Thrym holds the dreaded hammer in his right hand, and scornfully waves goodbye with the other.

he next morning, Thor and with him all of the Aesir  are shocked and dismayed. If they lack this formidable weapon, they will soon be powerless against the giants. Loki, equipped with Freyja’s falcon dress, spots the robber, who welcomes him into Jotunheim without haste. He had stolen the hammer, and to Loki's inner joy, because he only desires evil for the Aesir.  The giant adds that he will return it only on the condition that the Aesir give him Freyja as wife. "Loki by the giants" (Loki beim Riesen) therefore is the name of this new stitchkappe.
 Der Bilder-Cyclus zum Märchen vom Aschenbrödel (1873)
   Julius Naue for Moritz von Schwind
 Die Schöne Melusine: Lying Tongues
Moritz von Schwind

The following shows how Thor is adorned as a bride by the gods and goddesses in Freyja's gowns. Since Freyja most emphatically refuses to be the giant's wife, Thor himself must drive to Thrym disguised as Freyja. Loki goes with him as a maid.

The marriage will be blessed, as was the custom, with the hammer. Thrym barely lays Mjöllnir in the bosom of the bride,  when Thor grabs the weapon and slays the giant and his clan. "Thor smashed the giant and his sister" (Thor zerschmettert den Riesen n. seine Schwester) is therefore the name of this lunette. Loki looks indifferent to this spectacle, sitting next to Thor.  

Illustration for Schloss Hohenschwangau (1864)
Julius Naue for Moritz von Schwind

In the zwickel between these two stichkappes are shown "Freyja, the
goddess of love, and her handmaidens" (Freyja, die Göttin der Liebe, und ihre Dienerinnen). Three young women are busy by their seated mistress. The one on the left turns her radiant necklace Brisingamen; the one on the right does her hair, and behind them, a third, holds up a bowl.

In the next zwickel follows "Freyja equipped as the leader of the Valkyries," (Freyja als Anführerin der Walküren).  A breastplate covers her chest. In her right hand, she holds a sword high; a helmet covers her head, and falcon wings spread out on both sides of her back.

In the next stitchkappe, we see Baldur sunk down in his bright garb alongside Odin. With his left hand, Baldur supports his head thoughtfully, and points upwards with his right hand to the dreams that have frightened him for some time. He tells this to Odin, who seems to calm and comfort him.

In the zwickel, we find  Freyja, her hands raised plaintively, floating through all the worlds searching for her lost husband Odur.

Moritz von Schwind's Die Schöne Melusine
Das Wiederfinden

The following lunette is called "Thor weist bei Ögir den bösen Loki fort" ("Thor, at Aegir's, drives the evil Loki away").  At a recent drinking feast at Ægir's — he annually gave the gods a feast — Loki abused each of the Aesir, heaping guilt and shame on them until Thor came and threateningly drove the toxic blasphemer away.

Loki now bears revenge and misfortune in his heart. In the next stitchkappe, we see the the mistletoe, Baldur's destroyer.

On the previous zwickel, we saw Gefion, the virginal "Goddess of Innocence,"  who like the gods, namely Frigg and Sif and Odin and Thor, have come to comfort Nanna, grieving for her murdered husband Baldur.

But all  consolation is in vain. The following stitchkappe shows how Nanna, once the pyre is built and Baldur is placed on it, falls onto it in the middle of the flames.

In the next zwickel, we see "Syn, the goddess of silence." She has a long robe and a veil over her head. She holds the index finger of her right hand up to her mouth as a sign of silence. The seated figure holds a large set of keys over her bosom.
Illustration for Schloss Hohenschwangau (1864) 
Julius Naue for Moritz von Schwind

On the following stichkappe is "How Thor petrified the dwarf Alwis at sunrise," ["Wie Thor bei aufgehender Sonne den Zwerg Alwis versteinert"]. He was a wise, gold-rich ruler in Swartalfaheim. When he once came to Asgard, he was well received by the Aesir. Because his great wealth, power and knowledge was probably was known to them. Seeing the magnificent Thrud, Thor's daughter, and burning with love, he wanted to marry her. The connection with the underground treasures of the kings seemed good to the Aesir, and because they thought that Thor would have no objection have, the day of the wedding was set. However, as Thor, who was away on a journey, returned and he refused to give his consent to the marriage. When the dwarf persisted, Thor demanding samples of his wisdom,  asked questions. But the more Thor asked, the more the dwarf could answer, until at the break of day, touched by the bright rays of the sun, Alvis turned to stone. In the picture, you can now see his head and beard and torso solidify. The lower part is already turned to stone.

In the next zwickel, Sif, Thor's wife, appears as "goddess of the harvest." She holds a sickle in her left hand, a sheaf of corn in her right hand.
"Valkyrie Standing"
Julius Naue
The following lunette titled "Allvater bei Mimir Rat holend" ("All-father takes counsel from Mimir") shows Odin by Mimir.
Through Baldur's death and because Loki, his former blood brother, is imprisoned, Odin rides restlessly, knowing Ragnarok lay ahead, to the wise Mimir, to consult with him. His stallion Sleipnir waits impatiently, pawing the ground, while Odin stoops talking to Mimir. Reeds wreath his head, and a water-colored bluish beard flows deep down on his chest.

In the next zwickel, we see "Skadi, Njörder's wife, seen leaving her husband in the icebergs, travels and hunts on ice-skates," (Skadi, Niörders Gemahlin, die fern vom Gatten in die Eisberge zieht, Schlittschuh fährt und jagt). She has a spear in her hand. In Asgard, she won Njord as her husband, the god of summer seas. But she did not wish to dwell in his castle Noatun on the sea-shore where the gulls screamed and sang the swans, nor he in her home Thrymheim, where icebergs loomed and wolves howled. Nine nights they had stayed here and then nine in Noatun. But even so, they could not stand it. Therefore, they broke their marriage covenant and now each inhabits their usual abode.

Illustrations for Schloss Hohenschwangau (1864) 
Julius Naue for Moritz von Schwind

The God of the wild sea, Æegir, is shown on the following stichkappe. He is depicted as an old man. Next to him sits his wife Ran. Both tiaras and reeds decorate her hair. Like Poseidon, Ægir holds the trident in his right hand. On either side, two of their daughters stand, naked in contrast to their parents,  each  crowned with reeds. The one on the left holds a jug.
In the next zwickel we see Idun, the goddess of unfading youth, holding the bowl with the rejuvenating apples, out with her right hand. A floral wreath adorns her head.

"The handsome god of light Freyr, who has sat on Odin's high seat, shows his sister Freyja, the goddess of love, the radiant charm of Gerda" ("Dem schönen Lichtgott Freyr, der sich auf Odins Hochsitz gesetzt hat, zeigt seine Schwester Freyja, die Liebesgöttin, die von Anmut strahlende Gerda"),  is the theme of the following stichkappe. Gerda was the daughter of the giant Gymir. She was a dazzlingly beautiful maiden.  Freyr, who had once set on Odin's high seat Hlidskialf from where one could see all the worlds, saw her. In Jotun-home she walked. Her white arms illuminated the air and water.  The image of the maiden remained in Freyr's soul, and deep, marrow -consuming love-sickness seized the youth, who had dared to sit in the place that only the most High must occupy. Profoundly sad, he went along and said nothing. So his anxious father Njord sent Skirnir, one of his most faithful servants, to his son to ask him the reason for his gloom. Freyr finally admitted, how hopelessly he loved Gerda. The Aesir would hardly consent that he woo the daughter of a giant, and that this will have serious consequences and reject him. Then Skirnir volunteered to woo Gerda for him with his steed, which carries its rider even through waferlogi, and his sword, which fights by itself if wielded by a fearless man. Skirnir receives both.

 Die Schöne Melusine: By the Forest Well
Moritz von Schwind

He hurries
now toward Gymir's gard, encircled by a mighty fence, guarded by raging dogs, with a ring of fire surrounding Gerda's dwelling. A shepherd seated on a nearby hill, warns the bold rider against penetrating the wood further. Undismayed, Skirnir spurs the horse with the thundering hoofbeats. The whole of Gymir's  homestead  quakes. Gerda sends a maid from the room to discover the source of the noise. She reports that it is Skirnir and states his errand.

This is the subject of the next stitchkappe. First Skirnir offers Gerda all kinds of gifts to wrest her consent that she would be Freyr life companion: eleven golden apples, then the gold ring of the dwarves. This we see in the picture, Skirnir it with his right hand, while with his left, he also indicates where in the diatance that Gerda should follow him. A helmet covers his head. The strong sword hangs on his left. But Gerda, shadowed by a handmaiden, makes a defensive move with her right hand. She cannot be bribed with gifts. She will not fear, even violence, for her father will protect her. Skirnir threatens the maiden with magic runes and proclaims evil upon evil for her. Now the maiden, driven by terrible compulsion, changes her mind, and pledges to, in nine nights, by the grove Barri, expect Freyr and give him her love.

The following stichkappe is entitled "Gerda erwartet Freir im Walde Bari" ("Gerda awaits Freyr in the grove Barri")
. There we see the dazzling white Gerda, naked, covered only by her long, golden hair. She sits by water with her feet dangling down, turned toward Freyr. Her right hand longingly reaches out, wrapped in a red robe. The light of a golden diadem halos her head.

Illustration for Schloss Hohenschwangau (1864)
Julius Naue for Moritz von Schwind

Concerning the two zwickels: the first shows the three divine messengers: Heimdall, Bragi, and Loki To persuade Hel to return to the gods that which they sought —Idun, who just before Ragnarök, had fallen from the shining heights into the cold depths of night. Heimdall bends toward her, both arms outstretched. She sits forlorn, her head propped up in her left hand.  Behind Heimdall is Bragi, a staff in his right hand, pleading the case for Idun. In the background, right, is Loki. He pleads with his right hand outstreched adding more emphasis. At the same time, on Odin's behalf, his messengers should also ask the all-knowing one, if this meant the end of the world and the ruin of the gods. But she gives no answer. Only tears flowed from her clouded eyes. The messengers of the gods appear weak and stunned. Without having achieved their goal, the other two return to Asgard, while Bragi stays with his wife to comfort her.*

[*This would be only the 5th known illustration based on the poem Hrafnagaldur Odins.]

In the next zwickel, Idun, who is happy again and holds the dish with the apples up to the Aesir as two swallows fly up beside them, proclaiming and bringing a new Spring for the gods.

1881 The Return of Callias and Arete (The Pleiades)
Die Rückkehr des Kallias und Arete

Julius Naue
The next zwickel shows reconciliation and joy: "Frigg leads the veiled Freyja to Odur who has passed his repentance." Joyfully unveiled, Freyja extends the welcome cup to her long lost husband, who is kneeling before her.

The following stichkappe contains Groa's blessing. Her son has summoned the Seer from death's door. He calls out, and she now speaks nine healing charms over him. Their shapes and their faces are hidden in part. With blessings, she spreads her hands over her son, who is sunk down in front of her and leans his head down on his hands, which he has placed crosswise on a stone.

The zwickel also portrays a blessing. "Thor  Blessing Idun's and Bragi's marriage." These two are festively crowned and Thor's hammer lies in consecration over Idun's bosom. As the couple sits in front of him, Thor raises his hands in blessing.  Behind Thor, is Odin. Behind him are two pairs of goddesses.

The inference of the whole cycle is that of the initial image, "Night." Now the last Stitchkappe shows "Day,"  depicted as a man with a flaming torch in one hand and a fluttering, reddish cloth robe.

Night nourishes Day (Edda)
Julius Naue
Also known:

A single loose drawing from this set appeared in a catalog of drawings in the Arnold Otto Meyer Collection as: Die versammelten nordischen Götter, "The Gathered Norse Gods". Watercolor. Height 43 cm, Width. 55 cm. Sepia. Signed: "Rome. April 14, 1874. J. Naue", with an explanation below "The Nordic gods thank you that Haus Hernhofen has been given a home for them."

The "Fate of the Gods according to the Edda": A frieze consisting of 11 sections surmounted by stitchcaps and zwickels, a waterolor cycle by Naue started in Rome in 1874 and then completed in 1877. Figure of a part in Illustr Zietung 1880 Nr. 1918. Difer Salon Bismeyer & Kraus 78.

Thor smashes the giant's sister. All-father counseled at Mimirs. Skirnir woos Gerd for Freyr. Gerd waits for Freir in the forest of Bari. Two red pencil compositions for the zwickels of the frieze "The Fate of the Gods" executed for Arnold Otto Meyer in Hamburg.

Lokey und der Riese Triem, Holzschnitt von Käseberg.

Der König von Utgard


The Procession to Valhalla, 1876
Der Zug nach Walhalla in the Deutsches Märchen- und Wesersagenmuseum


—Seven Tempera Pictures from the Eddic Legend—
in the von Flotow mansion, Walow by Malchow, in Mecklenburg-Schwerin.
 In 1879, Naue also executed seven tempera paintings from the Germanic epic "Helgi and Sigrun" in von Flotow's castle in Mecklenburg, including images of the Nordic gods.  A description of this work  from Hermanowski's artbook can also be found below.
Schloss Wahlow bei Malchow 

The von Flotow family belongs to the ancient nobility of Mecklenburg. The first of the family to be mentioned in writing  is Godefridus de Vlotowein a document dating from 1241. Walow (or Wahlow) was first mentioned in 1255. The village was owned by the von Flotow family from 1384 until they were expelled after World War II.  The von Flotows had the  prestigious manor built new in 1879, the year inscribed above the crowned entrance. The neo-Gothic style manor at Schlossstraße 9, 17209, Walow, is richly decorated with elaborate brick ornamentation. Naue glorified the song "Helgi and Sigrun" there in 1879 in a series of seven tempura paintings (described below).

After some initial renovation work on the manor in 2006, restoration was suspended. The building stood empty for many years until new owners began to renovate the manor house in the autumn of  2017. So, that begs the question, do the murals still exist? If so, what condition are they in?
Schloss Wahlow by Malchow

Dr. Hermanowski's Description of the Seven Tempura Paintings, 1891:
No pictures from this cycle are known. The accompanying art is representative of Naue's work.

The most important gods we find united on one of the seven tempera pictures by which Naue glorified the song of "Helgi and Sigrun" in 1879. "Helgi is brought to the gods by Sigrun" is its signature piece.
Valkyrie Kneeling 
Julius Naue

We see gods and Einherjar gathered in Valhalla, similar to the types in the paintings of Naue's Edda fresco cycle discussed above.  In the middle sits the white-haired Odin. He holds the spear Gungnir upright in his left hand, while making a welcoming motion with his right hand toward the arriving Helgi. To Odin's right sits Thor, with red hair and beard, more good-natured than terrible-looking. In his left hand Thor holds his hammer firmly on his left knee, with his right hand he waves to the new guest, who is introduced by the garlanded Sigrun.

To the left of Odin sits Frigg. Right behind Thor stands Tyr with a winged helmet and spear in his left hand. Beside him sits Bragi, his head garlanded, his right hand gripping a harp. On the right and on the left of this group of gods, singers are standing or sitting at tables, drinking the sweet mead from horns and waving with them to the newcomer, while a Valkyrie, this time without swan-wings, carries a cup with mead to Helgi.

1863 The Swanmaiden / Schwanenjungfran
Julius Naue
Nymph with a Harp
Julius Naue
          Valkyries appear on more of the tempera murals, even a Valkyrie ride, where the battle-maidens arrive on their winged steeds as Helgi Hunding's sons fights, shielded by Sigrun, the Valkyrie, who descended to him after the battle when he is safe under the Aarstein, and confesses her love to him.
          In another picture we see the Norns. It says: "The Norns bless the child Helgi." In a small cradle beside the four-poster bed of its sleeping mother, slumbers a child. A tired nurse is slumped down in a chair beside his bed, her hands laid over her face.   The three norns approach the cradle, represented by two younger female figures with spindles in thier hands on the left, and one with a wreath in her hair. At the head of the bed is the third and oldest, all but her face hidden by her gown, has the right to bless the child, aided by the two others, who have bared necks and arms adorned with bangles, holding their hands above Helgi. Three flames in a lamp, at the foot of the four-poster bed, illuminate the room. 

Illustration for Schloss Hohenschwangau (1864)
Julius Naue for Moritz von Schwind
  Also known:
King Högni, King Hodbroddr, Sigrun. Three Head-studies in Red Pencil for the Tempera-picture cycle 'Helgi and Sigrun' on the Schlosse Wahlow bei Malchow in Mecklenburg-Schwerin.
Professor Dr. Julius Naue, Archaeologist and History Painter 

In his preoccupation with history painting, Naue seems to have come into contact with numismatics. According to him, his name was  "mentioned in numismatic circles ... with recognition." In an article published in der Berliner Zeitschrift für Numismatik, Vol. VIII, Naue concluded: "The portrait of King Lysimachus of Thrace on Greek coins, it can be demonstrated that on the coins before 306 BC, the head is not that of Lysimachus, but Alexander the Great."   He pioneered research into the pre-Roman antiquities of Bavaria. From 1881 to 1886 he examined no less than 460 burial mounds and 40 row graves "in a strictly systematic manner" starting at the Ammersee and "from there going step-by-step to the south to the Rieg- und Staffel-See at the foot of the high mountains." As an archaeologist, Naue made a presentation on prehistoric swords (Die prähistorischen Schwerter), specifically Bronze Age swords, for the Anthropological Society in Munich in 1884. The "Naue" type of Bronze Age sword is named for him. Self-taught, Naue published various smaller treatises for which he proceeded to compile in a dissertation at Tübingen University in 1887, Die Hügelgräber zwischen Ammer- und Staffelsee, for which he earned a doctorate.

According to Mark Schmidt (2006), the doctoral application submitted by Naue, as well as the  written reports by Herzog allow the correction of a small but evidently widespread error. Contrary to previous biographaphers, [Heierli, 1907; Gummel, 1938; Filip, 1966 and Koschik, 1981], Naue did not earn his doctorate in Tübingen on account of his excavation and scholarly publications, particularly the book "The Barrows Between Ammer and Staffelsee", 1887; Naue himself acknowledged that the lack of regular university studies and other preconditions prevented him from applying for a doctorate. However, the positive reaction to his previous achievements in the field of numismatics and prehistoric research, prompted his request to be classified as "reasonably justified".   

Grave of a Seeress near Munich, drawn by Julius Naue

In the field of local Bavarian research, Naue is recognized to have made an outstanding contribution.  That Naue knew and mastered "the most important German, French, Italian, English and Scandinavian works relevant to the history of the pre-Roman period" can hardly be doubted. Munich owes its prehistoric Museum to Naue's six-year excavation activities and is recognized as such in the journal of the Bavarian Art Trade Association, 1887, issue 3. On the occasion of the opening of the Prehistoric State Collection in 1889, Naue modestly described his own finds as the foundation of the museum. He also planned a multi-volume work on "The Bronze Age in Upper Bavaria" (Die Bronzezeit in Oberbayernn), but only published the first volume in 1894.

Hortari dem Jungenn
Julius Naue
      "Inspired by Felix Dahn's Felicitas, the artist depicted the young Bavarian prince with a boldly curved single-edged iron sword and a raised round shield. The belt buckle and the fitting are work inlaid with silver as they came to light in the Bavarian row graves."  
Führich, Lukas von, and Naue, Julius. Moritz von Schwind eine Lebensskizze; nach Mittheilungen von Angehörigen und Freunden des verstorbenen Meisters, 1871

Die Prähistorischen Schwerter, 1886
Die Figürlichen Darstellungen auf Gürtelblechen und Situlen von Bronze aus der Hallstattperiode, 1886
Die Hügelgräber zwischen Ammer- und Staffelsee : geöffnet, untersucht und beschrieben, Stuttgart: Enke, 1887
Bronze und Eisen in der Vorgeschichte Oberbayerns / In: Zeitschrift des Bayerischen Kunstgewerbe-Vereins zu München, 1887
Eisernes Dolchmesser aus dem Gardasee. Bonn, 1888
Hügelgräber neben und auf Hochäckern, München: Verlag der Redaktion der "Prähistorischen Blätter", 1889

Die silberne Schwertscheide von Gutenstein,” Mitteilungen der anthropologischen Gesellschaft in Wien 19, pp. 118–124, 1889

Bericht über die vorgeschichtlichen Ausgrabungen zwischen Ammer- und Staffelsee, 1887 

Westgothischer Goldfund aus einem Felsengrabe bei Mykenä. Bonn, 1892
Die Bronzezeit in Oberbayern, 1894 by Dr. Julius Naue, pp. 292. With album of fifty plates. Piloty & Löhle, Munich.

Southwest of Munich amid the lovely scenery which surrounds the Ammer and Staffel Lakes a number of sepulchral tumuli were discovered some years ago which on investigation dated to the age of bronze ranging in time from its earlier to its later periods. Fortunately for prehistoric science, they attracted the attention of Dr. Julius Naue of Munich and he set about their thorough and accurate examination. For fifteen years he has personally explored them spade in hand surrounding digging with those numerous precautions the field archæologist should always respect.

Before his researches practically nothing known of the conditions of the peoples of bronze age in the region indicated. By opening more than three hundred burial mounds and the sedulous study of their contents, he is able in the handsome volume named above to offer an almost complete restoration of the culture of that remote epoch. In the older graves there are abundant sils weapons and ornaments of bronze bowls jars and plates in earthenware frequently in artistic forms and decorated externally in lines and spirals and a quantity of amber No other metal was exhumed. Only in the later graves very small objects in gold and pearls glass appear but iron and silver continue unvery known. The text presents first the notes of each excavation. Then follow detailed descriptions the weapons exhumed the tools and utensils articles of ornament and pottery. Special studies are appended on the material and technique of the objects their form style and ornamentation and the inferences which they enable the student to draw regarding the people who left these memorials of their presence. The conclusions on the last topic are unexpected.

We find ourselves in the presence of an industrious and peaceable community depending on agriculture almost exclusively cultivating the soil diligently and raising herds of cattle. They wore woolen clothing with ornamented leather belts and decorated with bronze plates. They were of good stature the men 1.65 70 the women 1.60 65 They were firm believers in a life after death and surrounded the corpse with such objects as it was supposed to require in its wanderings in spiritland. Women took a high rank in the community as queens and priestesses. Some of the most elaborate of the interments preserved their remains only. The culture was a progressive one be traced from the neolithic time through the whole of the bronze age down to the epoch when the Roman forays destroyed it. Slowly but steadily it had increased and for centuries a state of comparative peace must have prevailed to permit this uninterrupted growth. The numerous illustrations in the text and the admirable album of fifty full page plates present in the most satisfactory manner the results of these important and suggestive excavations —D.G. BRINTON, 1896.

Die Frauengestalten auf der Bronzesitula von Welzelach und deren Kopfschmuck / München: Verlag der Redaktion der "Prähistorischen Blätter", 1895

Bronzehelm mit eingepunzten Figuren und Ornamenten aus Nord-Italien. Prähistorischen Blätter, München, 1901 .

Die Vorrömischen Schwerter aus Kupfer, Bronze und Eisen. Mit einem Album . München, 1903 

Drei neuere Bronzeschwertfunde aus Bayern und dem benachbarten Österreich, Prähistorischen Blätter, München, 1904

At the age of 71, the artist and archaeologist Julius Naue died on 14 March 1907 in Munich.  His grave lies in Alter Südlicher Friedhof. A posthumous auction of his collections was held in Münich at the Galerie Helbing—München, Helbing, on Tuesday 19 May 1908.

"The Collection of Prof. Dr. Julius Naue, Munich. Ceramics, Terracotta figures, Marble sculptures, Bronze and Precious metalworks from Prehistoric times and Classical Antiquity, including the late Roman and Migration periods."
Sammlung Professor Dr. Jul. Naue, München: Keramik, figürliche Terrakotten, Marmorbildwerke, Bronze- und Edel- metallarbeiten der vorgeschichtlichen Zeit und des klassischen Altertums inkl. spätrömischer und Völkerwanderungszeit.
Waldsee (Forest Lake)
Hat-buckle by artist Albert Friedrich Theodor Loewe, using miniature oil paintings, which he ordered from the most famous painters at home and abroad, which he then framed in the large buckles in gold-plated silver filigree.  Hat-buckles with rosettes or imitation-gem glass were common in the Upper Swabian and Upper Palatinate men's costume at the beginning of the 19th century. By removing the middle bar, over which the silk hat band was otherwise threaded, the buckles were transformed into decorative frames,  (before 1897).

If anyone knows of any pictorical remains of any of these monumental artworks,
contact me.
See Also: Germanischen Heldenkönige der Völkerwanderung