Francophilia of King Ludwig II of Bavaria, evident in all works of art under his patronage, continued almost till the end of his life and occupied a special place among other interests of the king. The most visible manifestation of his fascination with French culture is the king's last executed idea - the Herrenchiemsee Palace. Contrary to its architecture and some elements of the interiors, its historical and mythological paintings have never been the subject of deep research. The neo-Baroque apartments dedicated to King Louis XIV of France are modelled on the royal residential chambers in the Palace of Versailles. The copies of French paintings that served to glorify the king are thematically divided. Ludwig II chose a number of main aspects characterising the long reign of the French king. This complex of palace's chambers was not inhabited by Ludwig II. It formed a kind of museum devoted to the memory of King Louis XIV. A majority of the paintings, modelled on the leading artworks created under the patronage and on the initiative of the French king, represented for Ludwig II a sort of testimony to the Sun King era, a symbol of his glory. Their main message was hidden in their different meanings, unrelated to their original sense, aim or function. Their role was to glorify their French Maecenas, emphasize specific events of his reign and create an expanded iconographic program. As no detailed research on the historical paintings of the Herrenchiemsee Palace has yet been conducted, no specific continuity was detected in the use of selected themes nor were they connected to their French models. This painting decoration was meant to be the crown of Ludwig II's Francophilic projects.