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
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