Strolling from one church to another, I found the current setting across the river to the Dreifaltigheitsberge, upon the summit of which is a pilgrimage church with fourteen stations and monuments on the ascent indicating the bearing of the Cross, and sufferings of Christ, up to the Crucifixion. So I fell in with the train, and passed over the old stone bridge, one thousand and ninety-one feet long and twenty-three feet wide, placed upon thirty arches of thirty feet in width, and well worth remarking, for the early period of 1140. Once on the top, I found the ground occupied mostly by Bauern, in their novel costume. The girls in short frocks of fancy colors, with balloon sleeves, and silver chain across the corsage; the men in red vests and short-waisted coats, with two dozen silver and gilt buttons thereon, about the size of a half dollar.
Tents and booths contained the eatables and drinkables. Service was going on, and the temple jammed full. A thunderstorm came up, and I took refuge in the house of the church guardian, in a small room ten feet square, with a bed in one corner, thirty small prints of saints hanging around the walls, a table covered with mugs, ham, and sausages, eight persons, and cigar smoke in clouds.
The weather soon cleared up, and after dinner I found the town deserted. Protestants and Catholics escape the city, and the society gardens, as well as the public grounds, are crowded. The musicians are playing, and the adjacent environs are planted with trees, among which stand large buildings, over deep cold beer cellars, for summer use.
The former Abbey of St. Emmeran, now the residence of the Prince von Taxis, one of the wealthiest nobles of the country, is one of the lions to be seen. His picture gallery is not large but select; his stable of sixty horses is a choice pattern of neatness and convenience; his riding house is adorned with many equestrian groups of ancient combatants by Schwanthaler, and is a gem in its way. The family chapel and vault will compare favorably with those of the kings of Prussia and Hanover; add to which, he has a large brewery in connexion, in active operation, which was erected and worked by this order of monks. Under the roof of the same previous ecclesiastical establishment, are the refreshment rooms for the sale of the article manufactured. What strikes the stranger here is the universal use without the abuse, and it redounds to the honor of the German character, for the rarest spectacle is an inebriated person. In the deep and dark recesses of the Rath House here are seen the whole apparatus of the inquisition; parts of it I had seen in Italy and Spain, but here it is completed. I saw the latticed screen of the judge, with his desk, and the bored holes for candles; the penitential benches for culprits, while listening to the groans of comrades inducing confession; the chair of pointed spikes, resembling a flax hetchel, upon which the victim sat, with the stone weights suspended from his ankles; the platform upon which the naked body lay during the scraping of the skin from the back from head to foot; bolts in the floor to fasten the feet, and heavy fifty pound weights, attached to the arms, while the shoulders were strained by the windlass; with a variety of other tortures too horrible to describe. The seat of the doctor is also shown, whose business was to decide how much the sufferers could endure, without expiring under the treatment. Also cells with small openings through which the prisoners received their food; they were chained in such a manner that they were obliged to sleep with the blood flowing towards the head and heart, inducing, as was believed, contrition; there were dungeons, too, in which they were let down, with no opening except from above, cutting off all hope of escape. In witnessing such an exhibition it is consoling to reflect that civilization has made much progress since the last century, when these hellish instruments were in use.
CXI.
Wiesbaden, Duchy of Nassau, June 20, 1855.
From Ratisbon, I went to the famous Walhalla Temple, occupying the summit of a rocky cliff upon the banks of the Danube, about two hours’ ride from that city, composed entirely of marble, stone, and metal, and of which I must attempt a feeble description.
It seems that the artist ex-king, Ludwig, as early as 1807, when crown-prince, and while Germany was bowed down under French despotism, conceived the design of erecting a monument to the memory of the meritorious sons of the Fatherland. As early as 1821, German sculptors had already prepared a portion of the busts, when the preparatory ground-work was commenced, and on the anniversary-day of the battle of Leipsic, 18th of October, 1830, Ludwig, then king, laid the foundation-stone, and which he opened complete in 1842; the cost of which is reported, but probably incorrect, as I notice an article in a public journal, saying that during his reign forty millions of guilders, say seventeen millions of dollars, were expended in the fine arts, and constructing and beautifying churches, palaces, and temples. A considerable portion is represented as out of his private purse.
The majestic Walhalla stands three hundred feet above the water level, and the ascent is effected by double flights of broad marble steps, three hundred and fifty in number, uniting upon wide platforms, and then recommencing in like manner until the height is reached, giving a magnificent view of the river and surrounding country, as also a front view of the edifice. The terrace wall is built of many-cornered cyclopean blocks of stone, and from the second division corresponds with the underground foundation of the building, nearly one hundred feet in depth. The length of the wall from this platform, from north to south, is four hundred and eighty-three feet, and width two hundred and eighty-eight feet. The temple, bearing some resemblance to the ancient Parthenon at Athens, is two hundred and thirty feet in length, one hundred and eighteen feet in width, and sixty-four feet in height. It has seventeen marble columns on each side, and eight each, front and rear, thirty-one feet high, and six feet in diameter.
The gable pediments contain the splendid marble sculpture work of Schwanthaler, each group comprising fifteen figures. The one at the north occupied that artist eight years. The colossal form of the national hero, Herman, ten feet high, forms the centre of the group in the final struggle with the Romans, whose leader has struck his sword in his own breast to avoid the sight of the overthrow of his legions. From the time of Roman and Greek antiquity, perhaps, so large a gable-group has not been seen, being seventy-two feet in length. The inside is one hundred and sixty-eight feet by forty-eight, and fifty-three feet to the roof, and may be considered a rare gem. The floor is of polished white, yellow, and black marble mosaic; one draws on felt overshoes to slip and slide over the surface. The roof is of gilded bronze plates, with three plate-glass windows to admit the light, the crossbeams of sky blue, and stars of gold, with full-sized figures of gods and heroes. The various polished marble sides contain tablets and busts of one hundred and sixty of the most renowned and distinguished Germans. The different divisions are protected by six figures of Victory, in white Carrara marble; these female forms, with extended wings, are the work of the celebrated Rauch, at Berlin. The bas-reliefs, executed in Rome, of the same material, extend entirely around the hall, two hundred and ninety-two feet in length, in eight divisions, and mark the history of the German race, settlement of the country, conquests, arts, religion, knowledge, &c.