Wilhelm II, the last German Emperor, had a grand vision when he purchased the Achilleion Palace in Corfu, intending to turn it into a symbol of power, strength, and national glory. Central to his vision was a rejection of any imagery that depicted Achilles in moments of vulnerability. As recounted in a historical report by the Greek service of Deutsche Welle, Wilhelm found the statue of the 'Dying Achilles' placed in the garden by Empress Elisabeth of Austria to be offensive, feeling that it dishonored the legacy of a hero by showcasing him in a moment of defeat.

In response to his distaste for the existing representation of Achilles, Wilhelm commissioned a commanding bronze statue of 'Victorious Achilles' from sculptor Johannes Goetz. This new statue, adorned with golden elements on the spear and helmet, depicted a heroic and invincible figure, ready to embody the ideals of German nationalism and militarism. The shift in focus from a fallen hero to one of victory aligned with Wilhelm's own imperial ideology, establishing a new narrative that celebrated strength and dominance over vulnerability, which he equated with his vision for Germany.

The implications of this transformation at the Achilleion Palace extend beyond mere aesthetics; they reflect Wilhelm II's attempts to establish an imperial identity rooted in notions of glory and heroism that resonated with the broader context of rising nationalism in Europe at the time. This historical anecdote not only captures the complexities of imperial aspirations but also highlights the cultural significance of how heroes are perceived and represented, as Wilhelm sought to reshape the legacy of a legendary figure to better fit his own narrative of power and resistance.