An important period for Lenz was the two years (1864-1866) he spent working in a quarry in Tyrol. There he was able to withdraw into himself, into his heart to rest; and it was there he left a mature artist who with his revolutionary ideas set himself against the authority of academic institutions.

Lenz was convinced that only architectural reform could lead to new expressions of sculptures and paintings with the intent of creating stylistically uniform, all-encompassing collections (the German Gesamtkunstwerk, or 'the whole picture').

In 1868 Lenz was able to realize his objectives when his longtime friend, artist Amalie Besinger introduced him to Princess Catherine von Hohenzollern, who sponsored the chapel of St. Maurus near the Benedictine monastery in Beuron.

The chapel is the sole example of Beuron architecture, although there were proposals for other churches and monasteries designed by Lenz. The chapel was conceived by Lenz as an integrated, architecturally comprehensive work – from the lock on the door, to the chapel itself and the interior paintings, marble works and the wooden furniture – all Beuron art.