The entire system including the substructure is 125 meters long and 55 meters high, the shape of complex is a Greek temple in the style of a Doric Peripteros. The roof is supported by an iron structure that was ultra-modern for the time. The length of the classicist temple building is 66.7 meters, the width is 31.6 meters, and the height is 20 meters. The fully sculptural gable field on the north side, designed by Christian Daniel Rauch and executed by Ludwig von Schwanthaler, shows on the left the Germanic tribes under Arminius in the battle in the Teutoburg Forest against the Romans attacking from the west right. The southern gable represents Germany's liberation in 1814, in the middle Germania, from the left and right the German states and federal fortresses approach in homage, in the spandrel the border rivers Rhine and Moselle are symbolized. Inside, the Walhalla is 48.5 meters long, 14 meters wide and 15.5 meters high. The surrounding frieze by Martin von Wagner depicts the early history of the Germanic peoples, their departure from the Caucasus and their immigration into Central Europe. The final stage is the conversion to the Christian faith by Saint Boniface. In addition to its decorative function, the history frieze also serves as a visual separation between the lower bust zone and the upper panel zone. There are also twelve marble armchairs in the interior, which were created by the sculptor Ernst Mayer, and eight marble candlesticks.
History
Exterior view of the Walhalla memorial from northwest360-degree panoramic view inside the Walhalla memorialWalhalla colonnadeWalhalla main hall
In 1807, 20-year-old Crown Prince Ludwig of the Kingdom of Bavaria (newly elevated from Electorate to Kingdom by Napoleon in 1806), had the idea of reminding all Germans of their common heritage – of the great figures and events in ethnic German history. He commissioned several sculptors to create busts of famous individuals of his choice. Johann Gottfried Schadow's bust of Nicolaus Copernicus became one of the first completed, in 1807. Further suggestions for individuals to be honoured were solicited in 1808 from Swiss historian Johannes von Müller.
By the time of Crown Prince Ludwig's coronation as King Ludwig I of Bavaria in 1825, 60 busts had been completed. In 1826 Ludwig commissioned the construction of a memorial above the Danube River, near Regensburg, modelled after the Parthenon in Athens. The southern pediment frieze features the 1815 creation of the German Confederation; the northern pediment frieze features scenes from the Battle of the Teutoburg Forest of 9 AD.[2] According to Pictorial Travels Continentally Described (circa 1892), the construction of the building cost £666,666.
A two thaler coin was minted commemorating the opening of the Walhalla, Krause catalog number KM# 811. It is moderately scarce.[3]
At Walhalla's inauguration on October 18, 1842, there were 96 busts, plus 64 plaques for persons or events of which no portrait was available on which to model a sculpture. When the memorial was opened in 1842, Guido von Lessner authored a poem about Germany's greatness which was set to music by Joseph Hartmann Stuntz.[4]
Since being "of the German tongue" was the main selection criterion for the original 160 persons representing the 1,800 years of German history, the king included individuals of the wider Germanic sphere, including ancient Germanic notables as well as people from the Holy Roman Empire. Whereas the Valhalla of Norse mythology served as home to those gloriously slain in battle, Ludwig intended his Walhalla not only for warriors but also for scientists, writers, and clerics, and specifically included both men and women. Decades before the foundation of the modern German state in 1871 or the clear formation of a modern German identity, "German" was initially understood as "Germanic" and included all ancient Germanic peoples as well as medieval Dutch, Swedish, Russian, and modern Austrian and Swiss figures.
Leo von Klenze's plans reveal the purpose of the subterranean level set within the foundation, the entrance to which is visible from the Danube River. The Central Aisle leads to the Hall of Expectations (Halle der Erwartungen), which was meant to house busts of individuals considered worthy of joining Walhalla, but who were still living at the time of their busts' creation. These busts would be ceremoniously carried into Walhalla following the deaths of the subjects. The Hall of Expectations was abandoned owing to changes in criteria for induction into Walhalla.
The first addition to the collection was the bust of Martin Luther. Ludwig, a devout Catholic, had hesitated to include Luther. Several of the sculptors, including Ohnmacht and Schadow, had urged the king to include Luther, as did Johannes von Müller. Ludwig finally commissioned Luther's bust in 1831 from Ernst Friedrich Rietschel. It was not included at the inauguration of Walhalla in 1842, but added in 1848 by Ludwig himself. Luther's bust was placed just after the last of the original busts (Goethe's), disregarding the chronological arrangement by year of death.
In 1853, King Ludwig I established an additional Hall of Fame in Munich, specifically for Bavarians – the Ruhmeshalle. Nine of the Bavarian enshrinees have since become Walhalla enshrinees. Their busts in the Ruhmeshalle were destroyed in 1944, during a bombing raid, and have not been replaced. Instead, a plaque with their names tells of their transfer to Walhalla. King Ludwig I himself, who commissioned the Liberation
Hall and other monuments, was also enshrined both at Walhalla and in the Ruhmeshalle.
Helmuth von Moltke the Elder was the last addition of a military leader (in 1910). After World War I, new additions focussed on artists and intellectuals. Beginning in 1933, when Kraft durch Freude and other National Socialist organizations promoted trips to Walhalla, visitor numbers increased exponentially. In 1937, when Hitler unveiled a Bruckner bust, 131,520 were counted. The Walhalla memorial was reached by the Allied invasion of Germany in April 1945, by the US Third Army led by General George S. Patton.[5]
Additions since 1945 are proposed by private individuals or private foundations, who will also pay for the production of the new bust. Suggestions are reviewed by the Bavarian Academy of Sciences, based on which a recommendation is made by the Bavarian Ministry of the Interior. The final decision lies with the Bavarian Council of Ministers. Official practice since 1945 has been to favour "eminent figures from science or art, or individuals with extraordinary social or caritative merit".[6]
Nineteen busts have been added between 1945 and 2022, for an average interval of a little below four years between additions:
The original busts are arranged in rows by date of death
At the inauguration in 1842, a total of 96 busts were arranged, in two rows, in chronological order (by year of death), beginning with Henry the Fowler (d. 936) and ending with Goethe (d. 1832).
The upper row comprised 70 busts, beginning with Henry the Fowler and ending with Maria Theresa.
The lower row comprised a total of 26 busts of modern scholars, beginning with Lessing and ending with Goethe.
Upper row
Busts to the left of the statue of Ludwig I
1. Henry the Fowler – Duke of Saxony and King of the Germans (1809)
130. Sophie Scholl – German passive resistance activist against the Nazi regime (2003)[10]
Plaques
Statue of King Ludwig I (no. 63, 1890), builder of the hallFritigern, Leader of the Visigoths (second plaque from the top left)
Plaques were made for people (or acts) of which no portraits or descriptions were available to model sculptures after. The timeline spans from Arminius a.k.a. Hermann der Cherusker (born 17 BC) to watchmakerPeter Henlein, who died in 1542. In 2003 a plaque was added to commemorate the German Resistance against Nazi Germany.
Plaque numbers 1–32 represent the upper row, 33–64 the lower row.
Each plaque includes a short characterization of the individual, with the year of death given in Roman numerals.
The year of death in the table below is that given on the plaque, even where modern historiography suggests a revised date.
^The bust of Sophie Scholl was inaugurated on February 22, 2003, the 60th anniversary of her execution. It is also intended as a representative of all the members of the Widerstand (the German Resistance against Nazi Germany), who have been honored with an additional plaque.
Walhalla, official guide booklet, translated by Helen Stellner and David Hiley, Bernhard Bosse Verlag Regensburg, 2002
Eveline G. Bouwers, Public Pantheons in Revolutionary Europe. Comparing Cultures of Remembrance, c. 1790-1840, Basingstoke 2012, pp. 161–212 (ISBN978-0-230-29471-4)
Adalbert Müller: Donaustauf and Walhalla (1846) at archive.org
