Asterisk denotes entries on real places.
B. Although this name is unexplained in the text, B. undoubtedly stands for Bamberg, the German town in which Hoffmann worked as a theater producer from 1808 to 1813, before bankruptcy forced him to move on. It is the location of two crucial religious establishments, the first being the Cistercian convent where Franz’s mother obtains refuge, near to which he spends the remainder of his childhood, and where Aurelia eventually takes the veil. The other is the Capuchin monastery where Franz becomes Brother Medardus under the tutelage of Leonardus, eventually assuming responsibility for the relic chamber, whose treasures include the diabolical wine acquired by Saint Anthony in the course of his temptation. The monastery’s chapel has an altar dedicated to Saint Rosalia, which bears the image of Medardus’ temptress. The monastery is the final destination of Peter Schönfeld as well as Medardus.
Baron F.’s palace. House situated in an Alpine valley where Medardus plays a dual role after seeing his doppelgänger, Count Victor, apparently fall to his death. There he encounters Aurelia again, recognizing her as Saint Rosalia’s double. In the painter’s narrative it is the location of the Blue Room where a mysterious portrait–allegedly of the Devil–hangs. When Medardus passes through the estate on his return journey he finds it neglected and decaying.
Devil’s Seat. Projecting rock at the summit of an Alpine crag, which overhangs a black and seemingly bottomless pit, the Devil’s Gorge, from which poisonous fumes rise. It is from there that Count Victor apparently falls to his death.
Inn. Tavern in an unnamed town whose sign depicts a golden lion with wings. There Medardus first encounters the barber Peter Schönfeld, alias Pietro Belcampo, and hears more news of the foreign painter.
Gamekeeper’s house. Forest residence where Medardus encounters his doppelgänger in the guise of a mad monk.
Prince von Rosenthurm’s palace. The town in which the prince’s relatively modest residence is located is much smaller, quieter, and more orderly than the city. The edifice is surrounded by a charming park decorated with numerous grottos, chapels, pavilions, and temples. Here Medardus plays faro, hears tales told by the physician which explain the origin of Count Victor, and is recognized by Aurelia as her brother’s murderer–although she is in a very different frame of mind when she meets him again in the park.
Prison. Room in which Medardus is confined following Aurelia’s accusation. The room is not uncomfortable, but its barred window is set high, and precautions are taken to prevent him from looking out. Before his release he is taunted by the mysterious voice of his doppelgänger and fettered to the wall, where he suffers nightmares of torture.
Hospital. Religious establishment in Italy, administered by the Order of Hospitallers, to which Medardus is brought by Schönfeld after fleeing from his wedding, thinking that he has murdered Aurelia.
*Rome. Italy’s leading city and center of the Roman Catholic faith, to which Medardus is sent on a pilgrimage by Leonardus. After he finally arrives there, he prays in Saint Peter’s and many other churches and sees Schönfeld acting in a puppet show in the Piazza du Spagna. However, he spends far more time in a Capuchin monastery outside the city, where he finds another portrait of Aurelia as Saint Rosalia; it is there that he makes his confession and does painful penance, that he reads the wild tale of hereditary misfortune and visitations from Venus recorded in the painter’s manuscript, and that he encounters his doppelgänger for the last time, during his return journey.