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Walhalla (German pronunciation: [valˈhala] ⓘ) is a hall of fame monument in Bavaria[a] that honours laudable and distinguished people in German history – "politicians, sovereigns, scientists and artists of the German tongue";[1] While all new inductees since 1890 have been Germans or German-speakers, several earlier honorees came from outside modern Germany, which had not yet been established when the monument was built. Their inclusion reflects a 19th-century, still evolving, more loosely defined concept of "Germanness", one that would today be seen as conflating the term "German" with the much broader notion of having spoken a Germanic language or being of partial or supposed German ancestry.

The Walhalla memorial is named for the Valhǫll of Norse Paganism. It was conceived in 1807 by Crown Prince Ludwig I of Bavaria in order to support the gathering momentum for the unification of the many German states into the German Empire. Following his accession to the throne of Bavaria, construction took place between 1830 and 1842 under the supervision of the architect Leo von Klenze. The memorial displays some 65 plaques and 130 busts covering 2,000 years of history, beginning with Arminius, victor at the Battle of the Teutoburg Forest in the year 9 AD.

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, 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

[edit]
Exterior view of the Walhalla memorial from northwest
360-degree panoramic view inside the Walhalla memorial
Walhalla colonnade
Walhalla main hall

By 1806 Napoleon's First French Empire had annexed German lands along the Rhine River and the North Sea. Central German states formed the Confederation of the Rhine, which sided with Napoleon. Francis II, Holy Roman Emperor, then formally dissolved the Holy Roman Empire of the German Nation (6 August 1806) and instead styled himself Emperor of Austria. The War of the Fourth Coalition (1806–1807) pitted German forces on both sides against each other, and Napoleon again prevailed.

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 Walhalla, Krause catalog number KM# 811. It is moderately scarce.[3]

At Walhalla's inauguration on 18 October 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.

Four further additions were made during Ludwig's lifetime: Archduke Charles, Duke of Teschen (died 1847, added 1853), Josef Wenzel Graf Radetzky von Radetz (died 1858, added in the same year), Friedrich Schelling (died 1854, added 1860) and Ludwig van Beethoven (added 1866).

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.[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:

List of people

[edit]

Busts

[edit]
Upper row: Frederick Barbarossa, Henry the Lion, Frederick II "Stupor Mundi", Rudolf I of Habsburg
Lower row: Ernst Gideon Freiherr von Laudon, Wolfgang Amadeus Mozart, Duke Karl Wilhelm Ferdinand of Brunswick-Lüneburg, Justus Möser, Gottfried August Bürger.
Copernicus, by Schadow (1807, No. 52)
Ludwig van Beethoven (No. 65)
The fifth bust group (No. 90 to 110)
Wilhelm Graf zu Schaumburg-Lippe (No. 124)
Friedrich Gottlieb Klopstock

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

[edit]
Busts to the left of the statue of Ludwig I
1. Henry the Fowler – Duke of Saxony and King of the Germans (1809)
2. Otto I, Holy Roman Emperor (Schadow, 1809)
3. Conrad II, Holy Roman Emperor (Schadow, 1809)
6. Frederick I, Holy Roman Emperor (Schwanthaler, 1838)
7. Henry the Lion – Duke of Saxony and Bavaria (Schadow, 1811)
8. Frederick II, Holy Roman Emperor (Tieck, 1814)
9. Rudolf I of Habsburg (Tieck, 1832)
15. Erwin von Steinbach – architect of Strasbourg Cathedral (Ohmacht, 1811)
16. Johannes Gutenberg – inventor of movable type (Matthiä, 1835)
17. Jan van Eyck – Flemish painter (Tieck, 1817–1842)
18. Frederick I, Elector Palatine – the Victorious (Lossow, 1842)
24. Johannes Müller Regiomontanus (d. 1476) – astronomer and mathematician (Lossow, 1842)
25. Nicholas of Flüe – Swiss hermit, ascetic and mystic (Tieck, 1812)
26. Eberhard I, Duke of Württemberg (Wagner, 1830)
27. Hans Memling – Flemish painter (Woltreck, 1841)
28. Johann von Dalberg – Bishop of Worms (second bust by Lossow, added after 1867[8])
29. Hans von Hallwyl – Swiss commander at the Battle of Morat (Christen, 1812)
35. Berthold von Henneberg – Elector and Archbishop of Mainz (Mayer, 1824)
36. Maximilian I, Holy Roman Emperor (P. Kaufmann, 1811)
37. Johannes von Reuchlin – German philosopher and humanist (Imhof, 1835)
38. Franz von Sickingen – leader of the Knights' War (von Bandel, 1827)
39. Ulrich von Hutten – German knight and Renaissance humanist (Kirchmayer, 1811)
40. Albrecht Dürer – printmaker and painter (Rauch, 1837)
41. Georg von Frundsberg – military leader (Widnmann, 1841)
47. Peter Vischer the Elder – German sculptor (F. Müller, 1839)
48. Johannes Aventinus (Johann Georg Turmair) – Bavarian scholar and historian (Horchler, 1841)
49. Wolter von Plettenberg – German Master of the Livonian Brothers of the Sword (L. Schwanthaler, 1832)
50. Erasmus of Rotterdam – Dutch humanist (Tieck, 1813)
51. Paracelsus (Theophrast von Hohenheim) – Swiss physician and alchemist (E. Wolff, 1827)
52. Nicolaus Copernicus – Astronomer (Schadow, 1807)
58. Hans Holbein the Younger – German painter (Lossow, 1840)
59. Charles V, Holy Roman Emperor (Schwanthaler, 1842)
60. Christoph, Duke of Württemberg (Bissen, 1831)
61. Aegidius Tschudi – Swiss historian (Tieck, 1817)
67. William I of Orange – leader of the Dutch Revolt (Tieck, 1815)
68. Statue of Ludwig I of Bavaria (1890)
Busts to the right of the statue of Ludwig I
69. August II the Strong – Elector of Saxony and King of Poland (Rietschel, 1840)
70. Julius Echter von Mespelbrunn – Bishop of Würzburg (Scholl, 1840)
71. Maurice of Orange – captain-general of the army of the Dutch Republic (Tieck, 1815)
72. Johannes Kepler – mathematician and astronomer (Schöpf, 1842)
73. Albrecht von Wallenstein – Bohemian general in the Thirty Years' War (Tieck, 1812)
79. Bernhard of Saxe-Weimar – general in the Thirty Years' War (Tieck, 1812/13)
80. Peter Paul Rubens – Flemish painter (Lamine, 1809)
81. Anthony van Dyck – Flemish painter and engraver (Rauch, 1812)
82. Hugo Grotius – Dutch jurist (Tieck, 1814)
88. Maximilian von und zu Trauttmansdorff – Austrian diplomat that negotiated the Peace of Westphalia (Schaller, 1824)
89. Maximilian I – Prince-elector of Bavaria (Imhof, 1832)
90. Amalie Elisabeth – Countess of Hesse-Kassel (Tieck, 1817)
91. Maarten Harpertszoon Tromp – Dutch admiral (Kessels, 1825)
92. Paris Graf von Lodron – Archbishop of Salzburg (Eberhard, 1814)
93. Frans Snyders – Flemish painter (Rauch, 1814)
99. Charles X Gustav – King of Sweden (Tieck, 1816)
100. Johann Philipp von Schönborn – Archbishop and Prince-elector of Mainz (Tieck, 1818)
101. Ernst I – the Pious, Duke of Saxe-Gotha and Saxe-Altenburg (Tieck, 1815)
102. Michiel Adriaenszoon de Ruyter – Dutch admiral (Tieck, 1817)
103. Otto von Guericke – scientist and inventor (Rathgeber, 1811)
104. Frederick William, Elector of Brandenburg – the Great Elector (Wichmann, 1828)
105. Charles V, Duke of Lorraine (Tieck, 1817)
111. William III of Orange – Dutch Stadtholder and King of England (Haller, 1816)
112. Ludwig Wilhelm von Baden – Türkenlouis, Imperial commander (Widnmann, 1842)
113. Gottfried Wilhelm Leibniz – philosopher and mathematician (Schadow, 1808)
114. Herman Boerhaave – Dutch humanist and physician (Leeb, 1823)
115. Maurice of Saxony – German commander and military strategist (Tieck, 1813)
116. Georg Friedrich Händel (1685–1759) – composer (Schadow, 1815)
122. Nikolaus Ludwig von Zinzendorf – religious and social reformer, founder and bishop of the Moravian Church (Tieck, 1818)
123. Burkhard Christoph von Münnich – German field marshal in Russian service (Lossow, 1841)
124. Johann Joachim Winckelmann – archeologist and art writer (R. Schadow, 1814)
125. William, Count of Schaumburg-Lippe – commander of his army in the Seven Years' War and for Portugal (Schadow, 1809)
127. Albrecht von Haller – Swiss anatomist and physiologist (Schadow, 1808)
128. Raphael Mengs – Danish-German painter (Rauch, 1808)
129. Maria Theresa of Austria – Queen of Hungary and Bohemia, Holy Roman Empress (Eberhard, 1811/2)

Lower row

[edit]
Upper row: Albrecht von Haller, Raphael Mengs, Maria Theresia;
Lower row: Sophie Scholl.
Busts to the left of the statue of Ludwig I
4. Gotthold Ephraim Lessing – poet (Tieck, 1813)
5. Frederick the Great – King of Prussia, military leader (Schadow, 1807)
10. Christoph Willibald Gluck – composer (Dannecker, 1812)
11. Ernst Gideon Freiherr von Laudon – Austrian field marshal from Livonia (Kiesling, 1813)
12. Wolfgang Amadeus Mozart – composer (Schwanthaler, 1846)
13. Karl Wilhelm Ferdinand, Duke of Brunswick-Lüneburg – Prussian Generalfeldmarschall (Schadow, 1808)
14. Justus Möser – jurist and historian (Schmidt von der Launitz, 1821)
19. Gottfried August Bürger – poet (Tieck, 1817)
20. Catherine the Great (Wredow, 1831)
21. Friedrich Gottlieb Klopstock – poet (Schadow, 1808)
22. Johann Jakob Wilhelm Heinse – poet and scholar (Haller/Mayer, 1826)
23. Johann Gottfried Herder – poet and philosopher (Tieck, 1815)
30. Immanuel Kant – philosopher (Schadow, 1808)
31. Friedrich von Schiller – poet (Dannecker, 1794)
32. Joseph Haydn – composer (Robatz, 1810)
33. Johannes von Müller – Swiss historian (Schadow, 1808)
34. Christoph Martin Wieland – poet (Schadow, 1807)
42. Gerhard von Scharnhorst – Prussian general (Rauch, 1830)
43. Michael Andreas Barclay de Tolly – Russian Field Marshal (Widnmann, 1841)
44. Gebhard Leberecht von Blücher – Prussian Generalfeldmarschall (Rauch, 1817)
45. Karl Philipp Fürst zu Schwarzenberg – Austrian field marshal (Schaller, 1821)
46. Friedrich Wilhelm Herschel – astronomer (Eberhard, 1816)
53. Hans Karl von Diebitsch – Russian field marshal, born in Silesia
54. Karl vom und zum Stein – Prussian politician (1825)
55. August Graf Neidhardt von Gneisenau – Prussian field marshal (1842)
56. Johann Wolfgang von Goethe – poet and polymath (1808)
57. Martin Luther (1848) – leader of the Reformation, translator of the Bible into German
62. Archduke Charles, Duke of Teschen (1853)
63. Josef Wenzel Graf Radetzky von Radetz – Bohemian military leader (1858)
64. Friedrich Schelling – German philosopher (1860)
65. Ludwig van Beethoven – composer (Lossow 1866)
66. William I, German Emperor (1898)
68. Statue of Ludwig I of Bavaria (1890)
Busts to the right of the statue of Ludwig I
74. Otto von Bismarck – Chancellor of the North German Confederation and then of the German Empire (1908)
75. Helmuth Graf von Moltke – German Generalfeldmarschall (1910)
76. Richard Wagner – German composer of operas (1913)
77. Johann Sebastian Bach – composer (1916)
78. Justus von Liebig – German chemist (1925)
83. Friedrich Ludwig Jahn (1928)
84. Franz Schubert – Austrian Romantic composer (1925)
85. Joseph Görres (1931)
86. Anton Bruckner – Austrian composer (1937)
87. Max Reger – German composer and organist of the late romantic period (1948)
94. Adalbert Stifter – Austrian-Bohemian writer (1954)
95. Joseph Freiherr von Eichendorff (1957)
96. Wilhelm Conrad Röntgen – German physicist (1959)
97. Max von Pettenkofer – chemist and hygienist (1962)
98. Jakob Fugger – German merchant (1967)
106. Jean Paul (1973)
107. Richard Strauss – German composer (1973)
108. Carl Maria von Weber – German composer (1978)
109. Gregor Mendel – Austrian-Moravian Augustinian friar and naturalist (1983)
110. Albert Einstein – physicist (1990)
117. Karolina Gerhardinger – founder of the School Sisters of Notre Dame (1998)
118. Konrad Adenauer – first Chancellor of West Germany (1999)
119. Johannes Brahms – composer (2000)
120. Carl Friedrich Gauss – mathematician, astronomer, and physicist (2007)[9]
121. Edith Stein – Carmelite nun and philosopher (2009)
126. Heinrich Heine – German Romantic poet (2010)
130. Sophie Scholl – German passive resistance activist against the Nazi regime (2003)[10]

Plaques

[edit]
Statue of King Ludwig I (no. 63, 1890), builder of the hall
Fritigern, 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 watchmaker Peter 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.

Nr Name Died Description
1 Arminius 21 Leader of the Cherusci, victorious at the Battle of the Teutoburg Forest in AD 9.
2 Maroboduus 40 Leader of the Marcomanni
3 Veleda c. 84–98 Prophetess of the Bructeri
4 Julius Civilis before 100 Leader of the Batavi
5 Ermanarich 375 King of the Ostrogoths
6 Wulfila before 380 Apostle of the Goths
7 Fritigern after 390 Leader of the Tervingi
8 Alaric I 410 King of the Visigoths
9 Athaulf 415 King of the Visigoths
10 Theodoric I 451 King of the Visigoths
11 Horsa 451 Conqueror of Britain
12 Geiseric 477 King of the Vandals
13 Hengest 480 Conqueror of Britain
14 Odoacer 497 King of the Heruli and Gepidae
15 Clovis I 511 King of the Franks
16 Theodoric the Great 526 King of the Ostrogoths
17 Totila 552 King of the Ostrogoths
18 Alboin 573 King of the Lombards
19 Theudelinde c. 626 Queen of the Lombards
20 Emmeram von Regensburg 680 Bishop and Saint
21 Pippin of Herstal 716 Mayor of the Palace
22 Beda Venerabilis 735 Abbot and historiographer
23 Willibrord 739 Bishop and saint
24 Charles Martel 741 Charles "the Hammer", Duke and Prince of the Franks and Mayor of the Palace
25 Bonifatius 755 Bishop and saint
26 Pippin the Younger 768 King of the Franks
27 Widukind c. 800 Leader of the Saxons
28 Paulus Diaconus after 800 Paul Warnefried, historiographer of the Lombards
29 Alcuin 804 Abbot and scholar
30 Ecgberht of Wessex c. 810 First King of England
31 Charlemagne 814 Charles the Great, Roman Emperor
32 Einhard 839 Historiographer, biographer of Charlemagne
33 Hrabanus Maurus 856 Bishop and scholar
34 Arnulf von Kärnten 900 Roman Emperor
35 Alfred the Great 900 King of England
36 Otto of Saxony before 919 Duke of Saxony
37 Arnulf of Bavaria 937 Duke of Bavaria
38 Matilda of Ringelheim 968 Queen of Germany and saint
39 Hrotsvitha before 1000 Dramatist
40 Bernward of Hildesheim 1028 Artist, bishop and saint
41 Heribert von Köln 1028 Bishop and saint
42 Henry III 1056 Holy Roman Emperor
43 Lampert von Hersfeld 1077 Historian
44 Otto von Bamberg 1139 Bishop
45 Otto von Freising 1158 Bishop and historian
46 Hildegard von Bingen 1179 Abbess and saint
47 Otto of Bavaria 1183 Duke of Bavaria
48 Engelbert of Cologne 1226 Bishop and saint
49 The anonymous poet of the Nibelungenlied
50 Walther von der Vogelweide 1230 Minnesinger
51 Elisabeth von Thüringen 1231 Princess and saint
52 Leopold VI of Austria 1234 Leopold "the Glorious", Duke of Austria
53 Hermann von Salza 1240 Grand Master of the Teutonic Order
54 Wolfram von Eschenbach 1251 Minnesinger
55 Master Gerhard 1271 Architect of Cologne Cathedral
56 Arnold zum Turm 1264 Founder of the Rhenish League of Cities
57 Albertus Magnus 1280 Bishop and scholar
58 Rütlischwur after 1306 The three men of the Rütli oath, foundation of the Old Swiss Confederacy
59 Friedrich der Schöne 1330 Anti-king during the Interregnum
60 Bruno von Warendorp 1369 Leader of the Hanseatic League
61 Arnold Winkelried 1386 Knight, Swiss hero at Sempach
62 Wilhelm von Köln 1388 Painter
63 Adrian von Bubenberg 1479 Bernese military leader
64 Peter Henlein 1542 Inventor of the pocket watch

The 65th plaque, dedicated to the Widerstand (Resistance) against Nazi Germany, added in 2003, is not part of the two rows of 64 numbered plaques.

See also

[edit]

Notes

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References

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Sources

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Walhalla (memorial)

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from Grokipedia
The Walhalla is a neoclassical hall perched on a hill above the Danube River near Donaustauf, close to in , , commissioned by King as a national pantheon to commemorate distinguished individuals from Germanic history and culture through busts and plaques. Designed by architect and constructed from 1830 to 1842 in the style of a Doric temple modeled after the , the structure spans 71 meters in length and features a supported by 46 columns crafted from local stone. Conceived by Ludwig during the to foster a sense of German unity and pride amid political fragmentation, the Walhalla draws its name from , the mythical Norse hall of heroes, symbolizing an earthly equivalent for secular veneration rather than divine worship. The interior houses over 130 marble busts and 65 plaques dedicated to figures spanning two millennia, including rulers like , artists such as , composers like , and scientists like , selected for their enduring contributions to Germanic-speaking peoples. As one of the 19th century's premier German national monuments, the Walhalla embodies Romantic-era aspirations for cultural revival through and historical commemoration, remaining a site of public access and reflection on collective heritage without significant alterations since its in 1842.

Historical Development

Conception and Ideological Foundations

The Walhalla memorial was conceived in 1807 by Crown Prince as a neoclassical hall to immortalize distinguished German-speaking figures through busts and plaques, with an open competition for designs announced in 1814. This initiative arose amid the post-Napoleonic fragmentation of German states following the 1806 dissolution of the , which Ludwig regarded as a profound national humiliation, spurring his aim to revive collective self-assurance and cohesion among German peoples by celebrating their shared cultural lineage spanning two millennia. Ideologically, the project embodied , positing as a Kulturnation—a cultural rather than strictly political entity—united by exemplary individuals in politics, science, arts, and sovereignty, irrespective of regional or dynastic loyalties. Ludwig's infused it with classical ideals, replicating the Parthenon's form to invoke heroic antiquity and civic excellence, while the name Walhalla, drawn from Norse mythology's hall for slain warriors, evoked a Germanic heroic to underscore indigenous roots. Advised by historian Johannes von Müller on initial selections, Ludwig extended this to mediate confessional tensions, incorporating Protestant luminaries like into a Catholic sovereign's vision of transcendent national glory. Romantic influences further shaped its foundations through envisioned "national liturgies"—periodic rites and festivals mirroring ancient Panathenaic celebrations—to link commemoration with themes of death, transfiguration, and communal renewal, positioning Walhalla as a living symbol of enduring German spirit.

Construction and Inauguration

Construction of the Walhalla memorial commenced on October 18, 1830, with the laying of the foundation stone by King , following his commission of the project to honor notable figures of German-speaking heritage. The neoclassical structure, designed by architect and modeled after the in , was erected on a hill near Donaustauf, overlooking the River east of . The building process spanned twelve years, utilizing white limestone quarried locally from Kelheim, which was transported via the and a specially constructed to the site. Klenze supervised the erection of the Doric temple, measuring approximately 71 meters in length and 16 meters in height, featuring 48 columns and a inspired by . Despite logistical challenges posed by the elevated terrain, the project advanced steadily, reflecting Ludwig I's commitment to amid post-Napoleonic efforts to foster German identity. The memorial was inaugurated on October 18, 1842, exactly twelve years after the laying, in a presided over by King Ludwig I. At the opening, 96 marble busts of distinguished individuals were installed within the hall, symbolizing the initial selection of honorees from Germanic history, , and arts. The event underscored the monument's role as a "temple of fame," though subsequent political shifts in limited further expansions during Ludwig's reign.

Expansions and Post-1842 Additions

After its inauguration on October 18, 1842, with 96 marble busts and 64 plaques commemorating prominent Germanic figures, the Walhalla collection saw initial expansions under King Ludwig I himself. The first post-opening addition was the bust of in 1848, personally commissioned by Ludwig despite his Catholic background and initial hesitation over Luther's instigation of the , which had fractured Christian unity in German-speaking lands. This brought the bust total to 97, reflecting Ludwig's evolving commitment to honoring reformers alongside monarchs, scholars, and warriors in the pantheon. Further busts and plaques were added irregularly during the following Ludwig's in 1848 and death in 1868, gradually increasing the collection to around 130 busts and 65 plaques by the early , though precise annual tallies remain sparse in records. These inclusions prioritized figures embodying German cultural, scientific, and martial achievements, such as inventors and poets, without major alterations to the neoclassical structure designed by . No significant physical expansions to the building occurred, as the original Doric temple form—measuring 71 meters long, 16 meters high, and housing niches for up to 200 busts—accommodated ongoing commemorations. In the , additions continued sporadically, including during periods of political upheaval, though documentation emphasizes continuity in the selection process favoring enduring contributions over transient ideologies. Post-World War II, the process formalized: since 1962, new busts have been incorporated every five to seven years, selected by the with advice from the to ensure alignment with criteria of exceptional impact on German and culture. By the early , the total reached approximately 130 busts, with occasional plaques added for figures lacking reliable portraits, such as a 2003 plaque extending the timeline of honored inventors. This measured pace—averaging fewer than one addition per year since 1842—preserves the memorial's focus on verifiable amid Bavaria's administration of the site since 2016.

Architectural Description

Site and Exterior Design

The Walhalla memorial is situated in Donaustauf, approximately 10 kilometers east of , , perched on a hill at an elevation of 400 meters above , prominently overlooking the River. This elevated site was selected by architect to emphasize its commanding presence, integrating the structure with the natural landscape along the historic valley. The complex includes a massive tiered substructure rising 55 meters high, originally conceived as a 'Hall of Expectation,' which supports the main temple and facilitates access via a 358-step marble staircase descending toward the riverbank. The exterior design emulates a Doric peripteral temple inspired by the , featuring a rectangular form measuring 66.7 meters in length, 31.6 meters in width, and 20 meters in height to the , with the overall structure extending 125 meters in length. Constructed primarily from Kelheim limestone for the substructure and clad in Untersberg marble externally, the building showcases neoclassical precision under Klenze's direction, begun in and completed in 1842. It is encircled by 52 fluted Doric columns without bases, arranged in an octastyle configuration with eight columns across the short façades and fourteen along the long sides. The pediments are adorned with sculptural groups in : the southern pediment depicts , symbolizing national unity, while the northern portrays , referencing the victor of the . These elements, combined with the columned , underscore the memorial's role as a monumental homage to adapted for Germanic commemoration.

Interior Layout and Features

The interior of the Walhalla consists of a single rectangular hall, approximately 48 meters long, 14 meters wide, and 16 meters high, designed as an open space to evoke the grandeur of ancient temples while prioritizing the display of commemorative elements. The walls are clad in white marble, and the floor is paved with marble tiles, creating a luminous and austere neoclassical environment. Unlike the exterior Doric order, the interior features smooth wall surfaces without prominent freestanding columns, allowing uninterrupted views along the length of the hall. Busts of honored individuals are mounted on pedestals lining the perimeter walls in multiple rows, originally arranged in two rows at the 1842 inauguration with 96 busts placed in chronological order by date of death, proceeding clockwise from the entrance. This arrangement begins with early figures such as (died 936 AD) and extends to contemporaries like Goethe (died 1832 AD), with subsequent additions maintaining a similar temporal sequence to reflect the progression of Germanic contributions over two millennia. As of 2023, the collection includes 132 busts and 65 plaques, the latter commemorating figures, families, or events where no suitable bust could be produced, such as for women or collective entities; plaques are integrated among the busts or in designated wall sections. A continuous by artist Martin von Wagner encircles the upper walls, illustrating key episodes in Germanic history from the era of tribal migrations through to , serving as a backdrop to the individual honors below. The central floor area remains unobstructed, facilitating visitor circulation and contemplation, with natural light entering through the entrance and windows to illuminate the marble surfaces and bronze elements of the busts. No central or is present, emphasizing the egalitarian assembly of luminaries in a hall modeled after mythical but grounded in empirical historical reverence.

Artistic Elements and Symbolism

The Walhalla's exterior embodies neoclassical principles through its Doric and , evoking the while adapting classical forms to honor Germanic heritage. The southern depicts as a central figure welcoming representatives from German states and fortresses, symbolizing national liberation and unity post-1814. The northern features ancient poets led by alongside Germanic mythological figures, blending classical literary tradition with Nordic motifs to underscore cultural continuity. Inside, the marble-clad hall measures 48.5 meters long, 14 meters wide, and 15.5 meters high, lined with approximately 132 busts of distinguished German-speaking figures—rulers, scientists, artists, and others—arranged in tiers along the walls. These busts, originally 96 selected under Ludwig I and expanded periodically by Bavarian authorities, are adorned with gold ornaments and crafted by various sculptors to immortalize contributions to Germanic spanning two millennia. Complementing them are 65 memorial plaques for figures lacking busts, alongside 64 tablets illustrating themes from , such as heroic narratives. A surrounding by Martin von Wagner portrays an idealized progression of Germanic , from tribal migrations to Christianization, reinforcing themes of resilience and cultural evolution. Symbolically, the monument's name derives from Valhalla, the Norse hall of slain warriors, repurposed as a pantheon for cultural and intellectual heroes rather than solely martial ones, reflecting Ludwig I's vision of a secular Teutonic Valhalla to foster pan-German identity amid fragmentation. This fusion of Greek architectural purity—via Leo von Klenze's design—with Nordic and historical iconography signifies the synthesis of classical rationality and Germanic spirit, promoting unity without reliance on contemporary political structures. The emphasis on empirical achievements in bust selections prioritizes verifiable impacts in politics, science, and arts over abstract ideals.

Honored Individuals

Selection Criteria and Process

The selection of individuals for the Walhalla memorial was originally directed by King , who envisioned honoring figures of outstanding merit from Germanic history and culture, broadly defined by their association with the "German tongue"—encompassing speakers of German or related across approximately 1,800 years. Historian Johannes von Müller assisted in the initial curation, focusing on contributions in realms such as , , , military leadership, and , with an emphasis on those who advanced Germanic identity or achievement. At the memorial's inauguration on October 18, 1842, this process yielded 96 busts for figures with reliable portraits and 64 plaques for those lacking such imagery or representing events, prioritizing verifiable historical impact over contemporary . Posthumously after Ludwig I's abdication in , additions continued sporadically under Bavarian royal and later state oversight, expanding the collection to recognize evolving interpretations of Germanic heritage while maintaining the founder's ideological framework of cultural and intellectual excellence. By the mid-20th century, a formalized procedure emerged: proposals originate from recognized scientific or cultural institutions, requiring the candidate to have been deceased for at least 20 years to ensure lasting legacy assessment. The Bavarian Academy of Sciences evaluates nominations for merit in fields like governance, scholarship, or creativity, recommending selections to the for final approval, which balances historical continuity with demonstrable influence on German-speaking peoples. This process, administered by the Bavarian Palace Administration since 2016, occurs irregularly—typically every five to seven years since 1962—to accommodate new busts or plaques, ensuring additions reflect empirical contributions rather than transient acclaim, though debates persist on the breadth of "Germanic" eligibility amid modern national boundaries. As of 2025, the collection comprises 130 busts and 65 plaques, underscoring a conservative expansion that privileges enduring evidence of impact over inclusivity quotas.

Bust Collection

The bust collection in the Walhalla memorial consists of marble sculptures honoring distinguished individuals from Germanic history, primarily rulers, scholars, artists, and military leaders of German-speaking or Teutonic heritage. At the memorial's on , , 96 such busts were displayed along the interior walls, modeled from historical portraits where available. These busts, crafted by various commissioned sculptors including Christian Friedrich Tieck for figures like , feature gold-ornamented and are arranged in two tiers—upper and lower—proceeding clockwise by date of death, beginning with from the 1st century AD. Subsequent additions have expanded the collection to 132 busts as of recent counts, with new commissions funded by private proposers or foundations since 1945, subject to approval by Bavarian authorities after a minimum 20-year post-mortem eligibility period. Notable early additions included in the mid-19th century, overcoming initial reservations by the Catholic founder King Ludwig I due to Luther's religious role in . Sculptors for later busts, such as Josef Wackerle for modern figures, continue the tradition of realistic portraiture based on verified likenesses, distinguishing busts from the 65 accompanying plaques reserved for those lacking reliable images or for collective events. The collection's focus remains on empirical contributions to , science, and , with only a small number—around seven—representing women, reflecting historical selection priorities.

Plaque Commemorations

The commemorative plaques in the Walhalla memorial, known as Gedenktafeln, honor individuals or groups whose extraordinary contributions to Germanic or German could not be represented through busts due to the absence of preserved authentic likenesses. These plaques primarily feature ancient figures from Germanic antiquity, such as tribal leaders or early historical actors, whose visual depictions are undocumented or unreliable. At the memorial's on October 18, 1842, 64 such plaques were installed alongside 96 busts, enabling the inclusion of pre-modern personages spanning over 2,000 years of . As of the early , the collection comprises approximately 65 plaques, reflecting minimal post-1842 expansions compared to the bust series. Plaques differ from busts in their epigraphic format, typically inscribed with names, dates, and brief achievements on or stone tablets affixed to the interior walls, emphasizing textual tribute over sculptural form. This distinction preserves space limitations in the hall while adhering to Ludwig I's criteria for honorees of "teutscher Zunge"—those linked by Germanic linguistic or —who demonstrated excellence in realms like warfare, , or cultural preservation. Additions to the plaques occur irregularly, often tied to collective acts rather than individuals, ensuring the memorial's focus on verifiable historical impact without requiring posthumous portrait . The plaques complement the busts by broadening representation to include group commemorations or lesser-documented heroes, maintaining the Walhalla's role as a comprehensive pantheon of Germanic distinction.

Notable Figures and Their Contributions

The Walhalla memorial enshrines figures whose accomplishments in politics, science, arts, and warfare contributed significantly to Germanic cultural and historical identity, as selected by King Ludwig I and subsequent committees for their exemplary merits. Among military leaders, stands out, honored for commanding the Germanic tribes to victory against three Roman legions under at the on September 9, 9 AD, thereby preventing Roman conquest of and establishing a symbol of national resistance. In science, is represented by a marble bust sculpted by Johann Gottfried Schadow, completed in 1807 as one of the earliest commissions for the memorial, recognizing his revolutionary heliocentric theory outlined in (1543), which displaced Earth from the universe's center and laid foundations for modern astronomy. Literary and philosophical contributions are exemplified by , included for his authorship of seminal works such as (parts I and II, 1808 and 1832), which synthesized classical and romantic elements to influence European literature and embody the intellectual depth of German classicism. Musician is commemorated for compositions like the Ninth Symphony (1824), which integrated vocal elements into symphonic form and promoted universal brotherhood through Schiller's "," advancing musical innovation in the Germanic tradition. Later additions include , honored for engineering the in 1871 as Prussian Chancellor through strategic wars and diplomacy, forging the from disparate states. In the 20th century, was inducted for developing the , including in 1905 and in 1915, transforming physics by linking , time, and . These selections reflect evolving criteria prioritizing impactful legacies within German-speaking spheres, though debates persist on ethnic and ideological alignments.

Ideological and Cultural Role

Fostering Germanic Identity and Unity

King Ludwig I of Bavaria conceived the Walhalla memorial in 1807, shortly after the dissolution of the and Bavarian defeats by Napoleonic forces, with the intention of restoring national self-confidence and reminding German-speaking peoples of their shared heritage. The project, initiated to honor exemplary figures from Germanic history—including rulers, warriors, scholars, and artists from across German-speaking regions—served as a "Teutonic Pantheon" designed to evoke a collective cultural legacy amid political fragmentation. By selecting and displaying 96 marble busts (as of its 1842 opening) of individuals such as , , , and , the memorial emphasized contributions from diverse eras and territories, transcending Bavarian particularism to cultivate a pan-Germanic sense of unity and pride. Ludwig explicitly hoped the site would consolidate German identity in visitors, positioning it as a national reference point that linked ancient Germanic valor—symbolized by its naming after the mythological —with aspirations for contemporary cohesion. This approach aligned with early 19th-century , using the inspired by the to parallel Germanic achievements with , thereby strengthening national consciousness in a era of divided states. The memorial's ideological role extended to promoting a broader Germanic identity by including figures from Teutonic traditions beyond modern , such as Scandinavians in early selections, underscoring a cultural rather than strictly political unity. Opened on October 18, 1842, Walhalla functioned as an inspirational space where visitors encountered tangible symbols of enduring Germanic accomplishments, fostering a psychological and cultural bond that prefigured later unification efforts under Prussian leadership in 1871.

Relation to Nationalism and Heritage Preservation

The Walhalla memorial was conceived amid the post-Napoleonic era's push for German unification, with King initiating construction in 1830 to create a neoclassical hall honoring exemplary figures from Germanic history, thereby promoting a shared national consciousness across fragmented states. Completed and dedicated on October 18, 1842, the structure symbolized aspirations for political and cultural cohesion, drawing on Romantic ideals to elevate collective heritage over regional particularism. Ludwig's opening address explicitly invoked the need for German unity, positioning the memorial as a catalyst for transcending dynastic loyalties in favor of linguistic and ethnic solidarity. This alignment with 19th-century manifested in the Walhalla's pan-Germanic scope, encompassing busts of individuals like , symbolizing ancient Teutonic resistance, alongside modern luminaries such as Goethe and Beethoven, whose inclusions underscored contributions to , , and music as binding elements of identity. The project, rooted in Ludwig's early 1807 ideation as crown prince, responded to defeats by by reasserting Germanic self-confidence through monumental commemoration, influencing broader movements toward the 1871 Reich unification. In preserving heritage, the Walhalla acts as an enduring repository, housing over 130 marble busts and plaques that document verifiable achievements in , , , and warfare, selected for their demonstrable impact on German-speaking civilizations rather than contemporary . State administration by Bavarian authorities ensures its physical and , safeguarding tangible records of pre-industrial legacies against historical revisionism or neglect. This function extends to cultural continuity, as the memorial's criteria—focusing on objective merit like scientific breakthroughs or military victories—provide a fixed narrative of accomplishment, independent of shifting ideological winds.

Controversies and Critiques

Debates on Exclusions and Inclusivity

The Walhalla's selection of honorees, guided by contributions to and history under the criterion of "teutscher Zunge," has resulted in marked underrepresentation of women, with only 13 female figures among roughly 196 total busts and plaques as of 2023. These women, including rulers like of and , predominantly hail from royal backgrounds, reflecting 19th-century emphases on political over other domains where female prominence was rarer or less recognized at the time. Critics have argued this imbalance perpetuates a male-centric view of history, though defenders note the memorial's focus on empirically verifiable cultural impacts from antiquity onward, where male figures dominated records in fields like , , and . Post-1945 additions, proposed by institutions or individuals and approved by Bavarian authorities, have occasionally sparked debates on inclusivity versus fidelity to original intent, particularly regarding ethnic and ideological diversity. The 2025 decision to install busts of philosopher —a Jewish-German émigré and female intellectual—and CSU politician Franz Josef Strauß in the final available niches drew criticism for potential politicization; the city of objected to Strauß's inclusion, advocating instead for , the CDU economist from the region, as a less partisan choice emblematic of post-war reconstruction. Arendt's addition, however, addressed gaps in recognizing non-Christian and female thinkers, marking a shift toward broader interpretive inclusivity within the Germanic linguistic sphere, though no major overhaul of exclusions (such as Nazi-era figures) has occurred, consistent with rejecting ideologically tainted legacies. Broader discussions on exclusions highlight the memorial's deliberate ethnic-cultural boundaries, limiting honorees to those tied to Germanic heritage and excluding figures from non-Teutonic backgrounds despite global influences on German thought; for instance, Jewish scientists like , who renounced German citizenship in 1933, have not been added, reflecting criteria prioritizing enduring ties to the cultural continuum over universal acclaim. Such choices have prompted meta-critiques in academic works on the Walhalla's role in , questioning whether rigid adherence to Ludwig I's framework stifles evolving notions of inclusivity without diluting historical specificity.

Political Instrumentalization and Modern Disputes

During the Nazi regime from 1933 to 1945, the Walhalla was misused for political stagings and propaganda events, aligning its Germanic heritage symbolism with National Socialist ideology. A prominent example occurred on June 6, 1937, when attended the unveiling of composer Anton Bruckner's bust, transforming the ceremony into a state-orchestrated media spectacle to emphasize cultural ties with ahead of the . This event underscored the regime's appropriation of pre-existing nationalist monuments to legitimize expansionist claims. In the post-war period, the memorial's administration sought to reframe its legacy by incorporating busts of anti-Nazi resistance figures, such as in 2003, to highlight opposition to and distance the site from its prior exploitation. Such additions aimed to balance the pantheon's emphasis on historical luminaries with recognition of moral stands against , though they sparked debates over whether they diluted the original focus on Germanic cultural achievements. Modern disputes often revolve around the Walhalla's exclusions, including the absence of despite his German origins and philosophical influence, which critics attribute to a conservative favoring monarchs, warriors, and artists over revolutionary thinkers. This omission has fueled arguments that the selection process perpetuates an exclusionary vision of Germanness, sidelining leftist or internationalist contributions. Further contention arises from the low representation of women—only about 5% of busts as of —and calls for broader inclusivity encompassing diverse ethnic or modern figures, reflecting tensions between preserving Ludwig I's criteria of linguistic and cultural impact versus adapting to contemporary . Proponents of revision argue for updates to reflect evolving , while defenders maintain that arbitrary additions risk politicizing a site meant for enduring merit. These debates echo 19th-century critiques, such as Heinrich Heine's dismissal of the Walhalla as a "marble Galgotha" emblematic of hollow .

Enduring Impact

Architectural and Cultural Influence

The Walhalla's architectural design, crafted by Leo von Klenze between 1830 and 1842, emulates the Parthenon through its octastyle Doric portico, rectangular hall, and elevated placement overlooking the Danube, utilizing local limestone for the core and Zollern marble cladding to achieve a luminous finish. This neoclassical approach, favored by King Ludwig I, integrated Greek Revival elements to symbolize eternal valor, drawing parallels between ancient Hellenic achievements and modern Germanic aspirations, as von Klenze believed in shared Indo-European ancestral roots between Greeks and Germans. As a pinnacle of 19th-century in , the Walhalla exemplified the trend of monarch-sponsored monuments that revived antique forms to legitimize national endeavors, influencing the aesthetic standards for subsequent public edifices in , such as those in Munich's Königsplatz ensemble also by von Klenze. Its construction promoted the use of classical orders for commemorative purposes, reinforcing 's role in state architecture amid Europe's post-Napoleonic cultural renaissance, though direct derivatives remain scarce compared to its inspirational intent. Culturally, the Walhalla advanced a cohesive Germanic identity by curating busts of luminaries from diverse eras and regions, fostering pan-German sentiment in the fragmented post-1806 landscape of principalities and kingdoms, and contributing to the intellectual groundwork for unification under Prussian leadership in 1871. It embodied romantic nationalism's emphasis on cultural rather than political unity, highlighting contributions in , , and to cultivate self-awareness among German-speakers, distinct from dynastic loyalties. In the broader European context, the monument's fusion of Norse nomenclature with Hellenic form underscored a selective heritage narrative, influencing discourses on civilizational continuity and inspiring later pantheons that blend mythology with history to bolster . Today, it sustains cultural reverence through annual visits exceeding 100,000, preserving neoclassical ideals and prompting reflections on heritage amid contemporary debates on identity.

Contemporary Relevance and Maintenance

The Walhalla memorial is administered by the Bavarian Palace Administration since 2016, which oversees its preservation as a state . Between 2004 and 2015, extensive renovations addressed structural issues including dampness and deformation, costing €13 million and ensuring the neoclassical building's long-term stability. Routine maintenance continues under this administration, with the site managed from the nearby in Kelheim, supporting public access via guided tours, an official for self-guided exploration, and seasonal boat and bus services from . In contemporary terms, the Walhalla maintains relevance as a living hall of fame, with new marble busts added periodically—every five to seven years since 1962—on recommendations from the Bavarian Academy of Sciences and approval by the Bavarian Council of Ministers. Recent additions include those of painter in 2019 and physicist in 2022, extending the monument's scope to modern figures while preserving its focus on contributions to German-speaking culture, science, and history. Discussions for further inclusions, such as philosopher and politician , reflect ongoing debates about inclusivity and political legacy, though no new busts were confirmed as of 2025. The site draws significant , recording a historic high of approximately 163,000 visitors in 2023—a 15% increase from 2022—underscoring its role as a key cultural landmark overlooking the . This sustained interest highlights the memorial's enduring appeal for education on Germanic heritage, with free exterior access and paid interior entry (€5 standard adult fee) facilitating broad engagement.

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