INTRODUCTION.
Ludwig, King of Bavaria, first conceived the idea of raising a monument to the national glory of Germany. In the year 1807, he planned the Walhalla, a grand hall for the reception of the statues and portrait-busts of celebrated Germans, borrowing the title of the structure from the old Norse language, the name being that of the palace into which Odin, the Scandinavian Jupiter, received the souls of the slain heroes. The idea, however, remained undeveloped until the important part played by the soldiers of Germany in the final overthrow of Napoleon gave a new impulse to the great scheme of the king. In 1821, he entrusted his architect, Leo von Klenze, with the execution of his plan. But it was not until 1830 that the design was sufficiently matured for building; and, after the laying of the first stone, twelve years were occupied in consummating the work. The Walhalla was inaugurated October 18th, 1842.
The Walhalla stands in a commanding position on the banks of the Danube, close to the little town of Donaustauf, and not far from Regensburg. It is a noble building of the Doric order, resembling the Parthenon of ancient Greece, 230 feet long, 108 feet broad, and 64 feet high, having a colonnade on every side. It is based upon a massive structure of Cyclopean stone work formed into three terraces, and is approached by a grand flight of steps.
The pediments at each end are filled with marble statues by Ludwig Schwanthaler. The south, pediment, looking over the river, contains an allegorical subject designed by Rauch, and sculptured by Schwanthaler. Germany is here as a female figure surrounded by young warriors, who represent the different States of Germany, presenting to her the chief fortresses under the form of young women. The north pediment is entirely by Schwanthaler. It represents the battle between Hermann and Varus.
The interior forms a noble highly-decorated hall in the Ionic style, with polished marble walls and painted mouldings, the floor being also richly inlaid with marbles. The hall is 168 feet long, 48 feet broad, and 53 feet high. The entablature is supported by 14 Caryatides, treated as Walkyren, the Chusers of Slaughter in the old Germanic mythology, each being 10 feet 9 inches high. They are modelled by Schwanthaler, and executed in marble by his pupils; the figures being painted in the manner supposed to have been practised by the Greeks: the hair is brown, the flesh ivory colour, the tunics are of violet colour, the upper drapery white with red and gilt edges, and the bearskins gilt. A frieze runs round the hall, on which is sculptured the history of the Germans, from their origin in the mountains of the Caucasus to their baptism by Bonifazio. This frieze is the work of Martin Wagner, a Bavarian sculptor, living at Rome, assisted by Schopf and Pettrich. It is in marble, and measures 3 feet 4 inches in height, by 292 feet long.
Six statues of Victory, larger than life, and sculptured by Rauch, are arrayed round the hall. Between these are placed the busts of the great men of Germany, in six groups, numbering, in all, 96. They begin, chronologically, with Arminius, who repelled the Romans, and King Harry I. (A.D. 876-936), and come down to Blucher and Schwarzenberg. The Poets are represented from the medieval Minne and Meister-singers, down to Goethe and Schiller. All these busts are however modern works of art, the earliest dating from 1794.
The “Ruhmeshalle” (or “Hall of Fame”), at Munich, contains another collection of portrait-busts of celebrated Germans. This, like the Walhalla, was established by Ludwig, King of Bavaria, and built by the architect Klenze. It was commenced in 1843, and completed in 1853. It is well situated upon a hill which rises from a flat of some extent near Munich, called after the Queen of Louis, “die Theresen-Wiese.” It is in the Doric style of Greek architecture, 230 feet long, by 150 feet broad, and 60 feet high, and is surrounded by 48 columns, 24 feet in height. Within the 92 metopes are 44 figures of Victory, and 48 representations of the principal events in the progress of Bavaria, designed and executed by Schwanthaler. The pediments also are ornamented with statues in marble by the same artist, personifying the provinces of the present kingdom of Bavaria. The statue of Bavaria, a cast from the head of which is in the Crystal Palace (See No. 205 of the Handbook of Modern Sculpture), stands in front of the building.
Some of the German portraits enumerated in the following pages are copies from portraits in both collections above referred to. There are also some portrait-busts of which the originals exist in the “Royal Museum,” and in the “Lager-Haus” at Berlin.
(The German Portraits begin immediately behind the Statue of Sir Robert Peel at the south-west angle of the Great Transept and Nave.)