Bavaria statue and Hall of Fame at the Theresienwiese

One of Munich’s most impressive landmarks towers high above the Theresienwiese: the mighty Bavaria, flanked by the venerable Ruhmeshalle. These monumental buildings not only embody the strength and pride of Bavaria, but also tell of a time when art, culture and national consciousness went hand in hand.

The Hall of Fame: a monument to Bavarian personalities

Ludwig I grew up at a time when the claims to power of Napoleon and the Austrians shaped life in his parental home. Bavaria was the scene of wars during this time.

The crown prince had many thoughts that motivated him to undertake several building projects such as national monuments, the Valhalla, the Liberation Hall near Kehlheim and the Hall of Fame in Munich. With these buildings, for example, he wanted to honor personalities in Bavaria who had played an important role in shaping the country.

For the Hall of Fame in Munich, he quickly began to compile a list and directories of “great” Bavarians. He looked at all classes and professions. In 1833, he announced a competition for the building project, which initially only dealt with the Hall of Fame. He stipulated the following requirements: building site above the Theresienwiese, space for 200 busts and the requirement that it should not be a copy of Valhalla.

Architecture and design: a work by Leo von Klenze

From the designs received, Ludwig ultimately chose the design by Leo von Klenze for cost reasons and commissioned the construction. The design envisaged a Doric columned hall with a U-shaped floor plan. In front of the hall, he planned a colossal sculpture (the Bavaria), which was to symbolize the fatherland of Bavaria. This statue certainly played a major role in Ludwig’s decision, along with the costs.

Construction above the Theresienwiese began in 1843 and was completed 10 years later. Kehlheim limestone was used for the construction of the three-winged Doric columned hall. The building is 68 meters wide and 32 meters deep. The roof is supported by 48 columns at the front and rests on a closed rear wall at the back.

The Hall of Fame was destroyed during the Second World War and rebuilt for the 1972 Olympic Games. Some of the busts damaged at the time were restored, others were unfortunately lost. Some of the busts found their way into the Valhalla.

Who is honored here?

In 1853, 74 busts were initially erected and the collection was expanded in 1868 to include 10 more people. On the 100th birthday of Ludwig I, his bust was placed in a central position on the middle wall.

Then as now, not everyone is inducted into the Hall of Fame. In the past, the selection reflected Ludwig’s political and educational intentions. He also made sure to include people from Franconia, the Bavarian Palatinate and Swabia – these areas have only been part of Bavaria since 1800 – in order to emphasize their affiliation to the state.

Today, the selection is made by decision of the Bavarian Council of Ministers following the vote of a commission of experts. The work is awarded to the sculptors by the State Building Administration. Care is still taken to ensure that the people depicted are as lifelike as possible. In the years 1972-1987, 17 new personalities were added to the Hall of Fame. This was followed by a further 13 busts of men and women by 2009.

Tour

It is quite impressive when you step into the arcade. There is not much space left on the walls and after initially only paying attention to the “faces” and recognizing relatively few personalities, I start to read the names.

But even that only helps my knowledge a little. I’ve never heard many of the names before. It doesn’t help, so I start looking for some people on the Internet to at least get some impressions.

What I find are painters, master builders, scholars, poets, sculptors, statesmen and generals. Then the first familiar name “Cranach” – a painter of whom I have already seen several works. I only find what I’m looking for again with the more recent busts: Carl Orff, Werner Heisenberg, Bertolt Brecht, Sebastian Kneipp and Karl Spitzweg are some of the personalities I know. From time to time I notice how few women are represented. Understandable from a historical point of view, but with the more recent busts? I discover Therese Princess of Bavaria (titled as a researcher), a mathematician, a writer, an actress. Were there so few Bavarian women who deserved to be shown there?

I really like many of the busts. If the artists of the heads are to be believed, some of the personalities depicted were visually very impressive.

The Bavaria statue: a symbol of Bavarian strength

With my head back and somewhat dazzled by the sun, I gaze in awe at the almost 19-metre tall Bavaria statue. It is enthroned on a stone pedestal almost 9 meters high and stands in front of the Hall of Fame. We climb up a few steps and begin our tour of discovery.

What is the Bavaria?

The Bavaria is the female symbolic figure and the personification of the Free State of Bavaria. Anyone traveling in Bavaria will discover her in various guises. For example, the Bavaria is depicted in coats of arms, paintings or as reliefs on houses.

However, the Bavaria statue on Munich’s Theresienwiese is certainly the best known. The gigantic bronze statue and symbol of Bavaria has been looking out over the city since 1850.

Ludwig Schwanthaler and Leo von Klenze – the creative minds behind the masterpiece

Leo von Klenze drew the first sketches of a Bavaria in 1824. He was inspired by Greek statues and so the Bavaria still resembled a Greek Amazon. After he received the commission to build the Hall of Fame, he produced further detailed drawings for the Bavaria, which also included a lion at its feet, for example.

Ludwig I commissioned the sculptor Ludwig Schwanthaler to realize the project in 1837. In contrast to Klenze, Schwanthaler was more of a supporter of the Romantic movement and was not quite as enthusiastic about the antique Bavaria. His sketches for the realization clearly showed the different views on art. It is assumed that Ludwig I was aware of this and wanted to achieve a synthesis of both styles.

Gradually, the Greek Bavaria in Schwanthaler’s drawings was transformed into a Germanic Bavaria, no longer wearing a laurel wreath but an oak wreath in a long shirt-like dress. He also depicted her defensively with a drawn sword.

Final changes and a statue is created

Schwanthaler’s designs changed until 1843, when a plaster model was finally created showing Bavaria with a slightly tilted head and milder, girlish features. The sword is held at an angle with the right arm bent. The lion is standing with his mouth closed. The oak wreath and the folded bearskin are still included.

According to Klenze’s ideas, the statue was to be cast in bronze. Ludwig I commissioned a Munich bronze caster to do the work, who built a new foundry especially for the purpose. Various models were created until the final full-size model was finally completed in 1843. This was dismantled into individual parts and casting molds were made.

On September 11, 1844, the head of Bavaria was cast first. The bronze from Turkish cannons was used for this. These came from the time of the Greek wars of liberation and had arrived in Bavaria via detours as “recycled material”. It took until December 1849 for all the parts to be cast.

In the summer of 1850, work began on erecting the Bavaria. To do this, horse-drawn carts had to bring the parts to the hill on the Theresienwiese. Once assembled, the ceremonial unveiling took place on October 9, 1850. The Hall of Fame had not yet been completed at this time.

Do we like it?

Oh yes! The Bavaria is very impressive. Not only because of its size, but also because of the detail. For example, I really like the way the lion’s mane has been worked out. If you look at the oak wreath, you can see every single leaf.

I also like the fact that the figure is not holding a sword up as originally planned, but is carrying it at his side. To me, this doesn’t make her look belligerent or warlike, just ready to defend herself in an emergency.

The Bavaria was planned as a hollow figure from the outset. Whether it was planned immediately after it was erected or later – but to this day there is a spiral staircase inside that leads up to the head of the figure.

In the head there is a small platform with two benches and four viewing hatches. From there you can look out over the Theresienwiese. I can’t say how good the view is. We weren’t in the head as the construction work for the Oktoberfest was taking place during our visit. We would have preferred to see the open Theresienwiese and therefore decided not to go. However, I have read that many visitors watch the hustle and bustle from their heads, especially during the Oktoberfest.

Visitor information

Address

Theresienhöhe 16
80339 München