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The lack of documentation concerning the construction of the Gothic cathedral may be in part the result of fires that destroyed the chapter archives in 1218 and again in 1258—a fire that damaged the cathedral itself. Bishop Evrard de Fouilly initiated work on the cathedral in 1220. Robert de Luzarches was the architect until 1228, and was followed by Thomas de Cormont until 1258. His son, Renaud de Cormont, acted as the architect until 1288. The chronicle of Corbie gives a completion date for the cathedral of 1266. Finishing works continued, however. Its floors are covered with a number of designs, such as the swastika (to symbolize Jesus' triumph over death). The labyrinth was installed in 1288. The cathedral contains the alleged head of John the Baptist, a relic brought from Constantinople by Wallon de Sarton as he was returning from the Fourth Crusade.
The construction of the cathedral at this period can be seen as resulting from a coming together of necessity and opportunity. The destruction of earlier buildings and attempts at rebuilding by fire forced the fairly rapid construction of a building that, consequently, has a good deal of artistic unity. The long and relatively peaceful reign of Louis IX of France brought a prosperity to the region, based on thriving agriculture and a booming cloth trade, that made the investment possible. The great cathedrals of Reims and Chartres are roughly contemporary.
The initial impetus for the building of the cathedral came from the installation of the reputed head of John the Baptist on 17 December 1206. The head was part of the loot of the Fourth Crusade, which had been diverted from campaigning against the Turks to sacking the great Christian city of Constantinople. A sumptuous reliquary was made to house the skull. Although later lost, a 19th century replica still provides a focus for prayer and meditation in the North aisle.
Hall of Fame and Bavaria at the Theresienwiese
The Hall of Fame and Bavaria form the most famous landmarks on the edge of the Theresienwiese and are well worth a visit.
The Hall of Fame and Bavaria form on the Theresien height an ensemble in style of the ancient Acropolis in Athens, which was commissioned by King Ludwig I there. Together with his architect Leo von Klenze King Ludwig I shaped the cityscape of Munich like no other. He was a friend of the monasteries and the academic spirit, and he turned his attention to painting and poetry.
As crown prince Ludwig after the death of his father in 1825 took over the throne of Bavaria he was already dreaming of his "Athens on the Isar" with monumental squares and buildings. Whereas his childhood and youth was influenced by the French Revolution and the subsequent Napoleonic wars, as crown prince he longed for a "Bavarian of all tribes" and a "bigger German nation." In this phase, Ludwig was planning a patriotic monument in the capital city of Munich and for this purpose he already in 1809 by historian Lorenz Westenrieder he had made a list of famous Bavarian representatives of all classes and professions. Approximately 20 years later this list was on his behalf by his Interior Minister Eduard von Schenk - in the meantime Ludwig was King of Bavaria - renewed and expanded.
For the tender for a Hall of Fame above the Theresienwiese with space for 200 busts King Ludwig I invited the best and most prestigious builders of those times:
Friedrich von Gärtner,
Leo von Klenze,
Joseph Daniel Ohlmüller and
Georg Friedrich Ziebland.
Hall of Fame after the scetch of Leo von Klenze
Design by Leo von Klenze
As the court master builder of that time of the king, Leo von Klenze had significant advantages because he on the one hand with the wishes of his client was very familiar and on the other hand also could examine the designs of its competitors in detail. Therefore, it is not surprising that the design of Klenze won the tender of the Hall of Fame in March 1834. He planned the Hall of Fame with a Doric portico in the background and a colossal statue in the foreground.
The construction of the Hall of Fame in the years 1843-1853 actually took place according to the planning of Klenze. After completion of the Hall of Fame, in 1853 the busts of 74 especially venerable Bavarians were set up, in 1868 another 10 were added. The bust of King Ludwig I was only in 1888 in the Hall of Fame erected to commemorate his 100th birthday and supplemented with the following inscription:
"To King Ludwig I to celebrate his 100th birthday, the grateful Munich."
The Hall of Fame itself is 68 meters long, 32 meters wide and stands on a 4.3 meter high pedestal. The roof is supported by the back wall and 48 Doric columns that have a height of about 7 meters and a diameter of 1.25 meters.
Since the Hall of Fame and the in it set up busts in 1944 during an air raid in WW2 were severely damaged, it was not until 1966 when the Bavarian Council of Ministers decided the reconstruction of the Hall of Fame and the continuation of honouring of Bavarian personalities by setting up of their busts. The renovation was completed in 1972 and the Hall of Fame on 26 October 1972 with the preserved and renovated busts could be reopened.
For the selection of the personalities the Bavarian Council of Ministers is responsible, which is advised by a committee of experts from the Bavarian Ministry of Culture, the Bavarian Academy of Fine Arts, the Bavarian Academy of Sciences, the Bavarian Palace Department, the House of Bavarian History, the Bavarian Ministry of Finance and the LMU (Ludwig Maximilian University).
Bavaria © 2009 Bavaria
The colossal statue of Bavaria forms an artistic unity with the Hall of Fame in the background. The first sketches of Bavaria von Klenze already in his design of the whole ensemble on the model of ancient colossal statues of antiquity had produced. It was modeled after the Colossus of Rhodes, the statue of Zeus of Phidias and especially the Athena Parthenos. Theoretically, it is even possible that a part of the bronze for the Bavaria was once part of the Colossus of Rhodes. After Klenze was awarded the contract for the construction of the ensemble consisting of Hall of Fame and Bavaria, he made more sketches on the Greek model.
Since the statue should be cast according to both of Klenze`s ideas and Ludwig`s wishes in bronze, he included the sculptor Ludwig Schwanthaler, the ore caster Johann Baptist Stiglmaier as well as whose nephew Ferdinand von Miller in the further design and manufacture of the Bavaria statue. While Schwanthaler with his first sketches still held to the classical model in the sense of Klenze, he gave the statue in the further course of his designs increasingly a "Germanic" appearance with typical "German" character. The head and the raised hand he adorned with a wreath of oak and at her side appeared the drawn sword as a sign of her ability to defend herself. At her feet placed Schwanthaler a lion, that always have served as heraldic animal of the Wittelsbach.
The manufacturing of the final designs for the Bavaria statue followed in the years 1839 to 1843. Schwanthaler however the beginning of the foundry did not live because he shortly before that died in April 1844. As first thing, the head of Bavaria was cast in September 1844, in January and March 1845 followed the arms, on 11 October 1845, the breast piece. The last major casting for the bottom part took place on 1 December 1849. The erection and unveiling of Bavaria occurred during Oktoberfest (Munich Beer Festival) 1850. The cost for the production of the statue Ludwig after his abdication as king of Bavaria on 20 March 1848 largely paid from private sources. A special feature of Bavaria is the spiral staircase in its interior, where you can climb up into her head to enjoy from there an incomparable view of the Oktoberfest.
bavarianspaces.de/veranstaltungen/oktoberfest/ruhmeshalle code ...
Hall of Fame and Bavaria at the Theresienwiese
The Hall of Fame and Bavaria form the most famous landmarks on the edge of the Theresienwiese and are well worth a visit.
The Hall of Fame and Bavaria form on the Theresien height an ensemble in style of the ancient Acropolis in Athens, which was commissioned by King Ludwig I there. Together with his architect Leo von Klenze King Ludwig I shaped the cityscape of Munich like no other. He was a friend of the monasteries and the academic spirit, and he turned his attention to painting and poetry.
As crown prince Ludwig after the death of his father in 1825 took over the throne of Bavaria he was already dreaming of his "Athens on the Isar" with monumental squares and buildings. Whereas his childhood and youth was influenced by the French Revolution and the subsequent Napoleonic wars, as crown prince he longed for a "Bavarian of all tribes" and a "bigger German nation." In this phase, Ludwig was planning a patriotic monument in the capital city of Munich and for this purpose he already in 1809 by historian Lorenz Westenrieder he had made a list of famous Bavarian representatives of all classes and professions. Approximately 20 years later this list was on his behalf by his Interior Minister Eduard von Schenk - in the meantime Ludwig was King of Bavaria - renewed and expanded.
For the tender for a Hall of Fame above the Theresienwiese with space for 200 busts King Ludwig I invited the best and most prestigious builders of those times:
Friedrich von Gärtner,
Leo von Klenze,
Joseph Daniel Ohlmüller and
Georg Friedrich Ziebland.
Hall of Fame after the scetch of Leo von Klenze
Design by Leo von Klenze
As the court master builder of that time of the king, Leo von Klenze had significant advantages because he on the one hand with the wishes of his client was very familiar and on the other hand also could examine the designs of its competitors in detail. Therefore, it is not surprising that the design of Klenze won the tender of the Hall of Fame in March 1834. He planned the Hall of Fame with a Doric portico in the background and a colossal statue in the foreground.
The construction of the Hall of Fame in the years 1843-1853 actually took place according to the planning of Klenze. After completion of the Hall of Fame, in 1853 the busts of 74 especially venerable Bavarians were set up, in 1868 another 10 were added. The bust of King Ludwig I was only in 1888 in the Hall of Fame erected to commemorate his 100th birthday and supplemented with the following inscription:
"To King Ludwig I to celebrate his 100th birthday, the grateful Munich."
The Hall of Fame itself is 68 meters long, 32 meters wide and stands on a 4.3 meter high pedestal. The roof is supported by the back wall and 48 Doric columns that have a height of about 7 meters and a diameter of 1.25 meters.
Since the Hall of Fame and the in it set up busts in 1944 during an air raid in WW2 were severely damaged, it was not until 1966 when the Bavarian Council of Ministers decided the reconstruction of the Hall of Fame and the continuation of honouring of Bavarian personalities by setting up of their busts. The renovation was completed in 1972 and the Hall of Fame on 26 October 1972 with the preserved and renovated busts could be reopened.
For the selection of the personalities the Bavarian Council of Ministers is responsible, which is advised by a committee of experts from the Bavarian Ministry of Culture, the Bavarian Academy of Fine Arts, the Bavarian Academy of Sciences, the Bavarian Palace Department, the House of Bavarian History, the Bavarian Ministry of Finance and the LMU (Ludwig Maximilian University).
Bavaria © 2009 Bavaria
The colossal statue of Bavaria forms an artistic unity with the Hall of Fame in the background. The first sketches of Bavaria von Klenze already in his design of the whole ensemble on the model of ancient colossal statues of antiquity had produced. It was modeled after the Colossus of Rhodes, the statue of Zeus of Phidias and especially the Athena Parthenos. Theoretically, it is even possible that a part of the bronze for the Bavaria was once part of the Colossus of Rhodes. After Klenze was awarded the contract for the construction of the ensemble consisting of Hall of Fame and Bavaria, he made more sketches on the Greek model.
Since the statue should be cast according to both of Klenze`s ideas and Ludwig`s wishes in bronze, he included the sculptor Ludwig Schwanthaler, the ore caster Johann Baptist Stiglmaier as well as whose nephew Ferdinand von Miller in the further design and manufacture of the Bavaria statue. While Schwanthaler with his first sketches still held to the classical model in the sense of Klenze, he gave the statue in the further course of his designs increasingly a "Germanic" appearance with typical "German" character. The head and the raised hand he adorned with a wreath of oak and at her side appeared the drawn sword as a sign of her ability to defend herself. At her feet placed Schwanthaler a lion, that always have served as heraldic animal of the Wittelsbach.
The manufacturing of the final designs for the Bavaria statue followed in the years 1839 to 1843. Schwanthaler however the beginning of the foundry did not live because he shortly before that died in April 1844. As first thing, the head of Bavaria was cast in September 1844, in January and March 1845 followed the arms, on 11 October 1845, the breast piece. The last major casting for the bottom part took place on 1 December 1849. The erection and unveiling of Bavaria occurred during Oktoberfest (Munich Beer Festival) 1850. The cost for the production of the statue Ludwig after his abdication as king of Bavaria on 20 March 1848 largely paid from private sources. A special feature of Bavaria is the spiral staircase in its interior, where you can climb up into her head to enjoy from there an incomparable view of the Oktoberfest.
Hall of Fame and Bavaria at the Theresienwiese
The Hall of Fame and Bavaria form the most famous landmarks on the edge of the Theresienwiese and are well worth a visit.
The Hall of Fame and Bavaria form on the Theresien height an ensemble in style of the ancient Acropolis in Athens, which was commissioned by King Ludwig I there. Together with his architect Leo von Klenze King Ludwig I shaped the cityscape of Munich like no other. He was a friend of the monasteries and the academic spirit, and he turned his attention to painting and poetry.
As crown prince Ludwig after the death of his father in 1825 took over the throne of Bavaria he was already dreaming of his "Athens on the Isar" with monumental squares and buildings. Whereas his childhood and youth was influenced by the French Revolution and the subsequent Napoleonic wars, as crown prince he longed for a "Bavarian of all tribes" and a "bigger German nation." In this phase, Ludwig was planning a patriotic monument in the capital city of Munich and for this purpose he already in 1809 by historian Lorenz Westenrieder he had made a list of famous Bavarian representatives of all classes and professions. Approximately 20 years later this list was on his behalf by his Interior Minister Eduard von Schenk - in the meantime Ludwig was King of Bavaria - renewed and expanded.
For the tender for a Hall of Fame above the Theresienwiese with space for 200 busts King Ludwig I invited the best and most prestigious builders of those times:
Friedrich von Gärtner,
Leo von Klenze,
Joseph Daniel Ohlmüller and
Georg Friedrich Ziebland.
Hall of Fame after the scetch of Leo von Klenze
Design by Leo von Klenze
As the court master builder of that time of the king, Leo von Klenze had significant advantages because he on the one hand with the wishes of his client was very familiar and on the other hand also could examine the designs of its competitors in detail. Therefore, it is not surprising that the design of Klenze won the tender of the Hall of Fame in March 1834. He planned the Hall of Fame with a Doric portico in the background and a colossal statue in the foreground.
The construction of the Hall of Fame in the years 1843-1853 actually took place according to the planning of Klenze. After completion of the Hall of Fame, in 1853 the busts of 74 especially venerable Bavarians were set up, in 1868 another 10 were added. The bust of King Ludwig I was only in 1888 in the Hall of Fame erected to commemorate his 100th birthday and supplemented with the following inscription:
"To King Ludwig I to celebrate his 100th birthday, the grateful Munich."
The Hall of Fame itself is 68 meters long, 32 meters wide and stands on a 4.3 meter high pedestal. The roof is supported by the back wall and 48 Doric columns that have a height of about 7 meters and a diameter of 1.25 meters.
Since the Hall of Fame and the in it set up busts in 1944 during an air raid in WW2 were severely damaged, it was not until 1966 when the Bavarian Council of Ministers decided the reconstruction of the Hall of Fame and the continuation of honouring of Bavarian personalities by setting up of their busts. The renovation was completed in 1972 and the Hall of Fame on 26 October 1972 with the preserved and renovated busts could be reopened.
For the selection of the personalities the Bavarian Council of Ministers is responsible, which is advised by a committee of experts from the Bavarian Ministry of Culture, the Bavarian Academy of Fine Arts, the Bavarian Academy of Sciences, the Bavarian Palace Department, the House of Bavarian History, the Bavarian Ministry of Finance and the LMU (Ludwig Maximilian University).
Bavaria © 2009 Bavaria
The colossal statue of Bavaria forms an artistic unity with the Hall of Fame in the background. The first sketches of Bavaria von Klenze already in his design of the whole ensemble on the model of ancient colossal statues of antiquity had produced. It was modeled after the Colossus of Rhodes, the statue of Zeus of Phidias and especially the Athena Parthenos. Theoretically, it is even possible that a part of the bronze for the Bavaria was once part of the Colossus of Rhodes. After Klenze was awarded the contract for the construction of the ensemble consisting of Hall of Fame and Bavaria, he made more sketches on the Greek model.
Since the statue should be cast according to both of Klenze`s ideas and Ludwig`s wishes in bronze, he included the sculptor Ludwig Schwanthaler, the ore caster Johann Baptist Stiglmaier as well as whose nephew Ferdinand von Miller in the further design and manufacture of the Bavaria statue. While Schwanthaler with his first sketches still held to the classical model in the sense of Klenze, he gave the statue in the further course of his designs increasingly a "Germanic" appearance with typical "German" character. The head and the raised hand he adorned with a wreath of oak and at her side appeared the drawn sword as a sign of her ability to defend herself. At her feet placed Schwanthaler a lion, that always have served as heraldic animal of the Wittelsbach.
The manufacturing of the final designs for the Bavaria statue followed in the years 1839 to 1843. Schwanthaler however the beginning of the foundry did not live because he shortly before that died in April 1844. As first thing, the head of Bavaria was cast in September 1844, in January and March 1845 followed the arms, on 11 October 1845, the breast piece. The last major casting for the bottom part took place on 1 December 1849. The erection and unveiling of Bavaria occurred during Oktoberfest (Munich Beer Festival) 1850. The cost for the production of the statue Ludwig after his abdication as king of Bavaria on 20 March 1848 largely paid from private sources. A special feature of Bavaria is the spiral staircase in its interior, where you can climb up into her head to enjoy from there an incomparable view of the Oktoberfest.
bavarianspaces.de/veranstaltungen/oktoberfest/ruhmeshalle code ...
Hall of Fame and Bavaria at the Theresienwiese
The Hall of Fame and Bavaria form the most famous landmarks on the edge of the Theresienwiese and are well worth a visit.
The Hall of Fame and Bavaria form on the Theresien height an ensemble in style of the ancient Acropolis in Athens, which was commissioned by King Ludwig I there. Together with his architect Leo von Klenze King Ludwig I shaped the cityscape of Munich like no other. He was a friend of the monasteries and the academic spirit, and he turned his attention to painting and poetry.
As crown prince Ludwig after the death of his father in 1825 took over the throne of Bavaria he was already dreaming of his "Athens on the Isar" with monumental squares and buildings. Whereas his childhood and youth was influenced by the French Revolution and the subsequent Napoleonic wars, as crown prince he longed for a "Bavarian of all tribes" and a "bigger German nation." In this phase, Ludwig was planning a patriotic monument in the capital city of Munich and for this purpose he already in 1809 by historian Lorenz Westenrieder he had made a list of famous Bavarian representatives of all classes and professions. Approximately 20 years later this list was on his behalf by his Interior Minister Eduard von Schenk - in the meantime Ludwig was King of Bavaria - renewed and expanded.
For the tender for a Hall of Fame above the Theresienwiese with space for 200 busts King Ludwig I invited the best and most prestigious builders of those times:
Friedrich von Gärtner,
Leo von Klenze,
Joseph Daniel Ohlmüller and
Georg Friedrich Ziebland.
Hall of Fame after the scetch of Leo von Klenze
Design by Leo von Klenze
As the court master builder of that time of the king, Leo von Klenze had significant advantages because he on the one hand with the wishes of his client was very familiar and on the other hand also could examine the designs of its competitors in detail. Therefore, it is not surprising that the design of Klenze won the tender of the Hall of Fame in March 1834. He planned the Hall of Fame with a Doric portico in the background and a colossal statue in the foreground.
The construction of the Hall of Fame in the years 1843-1853 actually took place according to the planning of Klenze. After completion of the Hall of Fame, in 1853 the busts of 74 especially venerable Bavarians were set up, in 1868 another 10 were added. The bust of King Ludwig I was only in 1888 in the Hall of Fame erected to commemorate his 100th birthday and supplemented with the following inscription:
"To King Ludwig I to celebrate his 100th birthday, the grateful Munich."
The Hall of Fame itself is 68 meters long, 32 meters wide and stands on a 4.3 meter high pedestal. The roof is supported by the back wall and 48 Doric columns that have a height of about 7 meters and a diameter of 1.25 meters.
Since the Hall of Fame and the in it set up busts in 1944 during an air raid in WW2 were severely damaged, it was not until 1966 when the Bavarian Council of Ministers decided the reconstruction of the Hall of Fame and the continuation of honouring of Bavarian personalities by setting up of their busts. The renovation was completed in 1972 and the Hall of Fame on 26 October 1972 with the preserved and renovated busts could be reopened.
For the selection of the personalities the Bavarian Council of Ministers is responsible, which is advised by a committee of experts from the Bavarian Ministry of Culture, the Bavarian Academy of Fine Arts, the Bavarian Academy of Sciences, the Bavarian Palace Department, the House of Bavarian History, the Bavarian Ministry of Finance and the LMU (Ludwig Maximilian University).
Bavaria © 2009 Bavaria
The colossal statue of Bavaria forms an artistic unity with the Hall of Fame in the background. The first sketches of Bavaria von Klenze already in his design of the whole ensemble on the model of ancient colossal statues of antiquity had produced. It was modeled after the Colossus of Rhodes, the statue of Zeus of Phidias and especially the Athena Parthenos. Theoretically, it is even possible that a part of the bronze for the Bavaria was once part of the Colossus of Rhodes. After Klenze was awarded the contract for the construction of the ensemble consisting of Hall of Fame and Bavaria, he made more sketches on the Greek model.
Since the statue should be cast according to both of Klenze`s ideas and Ludwig`s wishes in bronze, he included the sculptor Ludwig Schwanthaler, the ore caster Johann Baptist Stiglmaier as well as whose nephew Ferdinand von Miller in the further design and manufacture of the Bavaria statue. While Schwanthaler with his first sketches still held to the classical model in the sense of Klenze, he gave the statue in the further course of his designs increasingly a "Germanic" appearance with typical "German" character. The head and the raised hand he adorned with a wreath of oak and at her side appeared the drawn sword as a sign of her ability to defend herself. At her feet placed Schwanthaler a lion, that always have served as heraldic animal of the Wittelsbach.
The manufacturing of the final designs for the Bavaria statue followed in the years 1839 to 1843. Schwanthaler however the beginning of the foundry did not live because he shortly before that died in April 1844. As first thing, the head of Bavaria was cast in September 1844, in January and March 1845 followed the arms, on 11 October 1845, the breast piece. The last major casting for the bottom part took place on 1 December 1849. The erection and unveiling of Bavaria occurred during Oktoberfest (Munich Beer Festival) 1850. The cost for the production of the statue Ludwig after his abdication as king of Bavaria on 20 March 1848 largely paid from private sources. A special feature of Bavaria is the spiral staircase in its interior, where you can climb up into her head to enjoy from there an incomparable view of the Oktoberfest.
bavarianspaces.de/veranstaltungen/oktoberfest/ruhmeshalle code ...
Hall of Fame and Bavaria at the Theresienwiese
The Hall of Fame and Bavaria form the most famous landmarks on the edge of the Theresienwiese and are well worth a visit.
The Hall of Fame and Bavaria form on the Theresien height an ensemble in style of the ancient Acropolis in Athens, which was commissioned by King Ludwig I there. Together with his architect Leo von Klenze King Ludwig I shaped the cityscape of Munich like no other. He was a friend of the monasteries and the academic spirit, and he turned his attention to painting and poetry.
As crown prince Ludwig after the death of his father in 1825 took over the throne of Bavaria he was already dreaming of his "Athens on the Isar" with monumental squares and buildings. Whereas his childhood and youth was influenced by the French Revolution and the subsequent Napoleonic wars, as crown prince he longed for a "Bavarian of all tribes" and a "bigger German nation." In this phase, Ludwig was planning a patriotic monument in the capital city of Munich and for this purpose he already in 1809 by historian Lorenz Westenrieder he had made a list of famous Bavarian representatives of all classes and professions. Approximately 20 years later this list was on his behalf by his Interior Minister Eduard von Schenk - in the meantime Ludwig was King of Bavaria - renewed and expanded.
For the tender for a Hall of Fame above the Theresienwiese with space for 200 busts King Ludwig I invited the best and most prestigious builders of those times:
Friedrich von Gärtner,
Leo von Klenze,
Joseph Daniel Ohlmüller and
Georg Friedrich Ziebland.
Hall of Fame after the scetch of Leo von Klenze
Design by Leo von Klenze
As the court master builder of that time of the king, Leo von Klenze had significant advantages because he on the one hand with the wishes of his client was very familiar and on the other hand also could examine the designs of its competitors in detail. Therefore, it is not surprising that the design of Klenze won the tender of the Hall of Fame in March 1834. He planned the Hall of Fame with a Doric portico in the background and a colossal statue in the foreground.
The construction of the Hall of Fame in the years 1843-1853 actually took place according to the planning of Klenze. After completion of the Hall of Fame, in 1853 the busts of 74 especially venerable Bavarians were set up, in 1868 another 10 were added. The bust of King Ludwig I was only in 1888 in the Hall of Fame erected to commemorate his 100th birthday and supplemented with the following inscription:
"To King Ludwig I to celebrate his 100th birthday, the grateful Munich."
The Hall of Fame itself is 68 meters long, 32 meters wide and stands on a 4.3 meter high pedestal. The roof is supported by the back wall and 48 Doric columns that have a height of about 7 meters and a diameter of 1.25 meters.
Since the Hall of Fame and the in it set up busts in 1944 during an air raid in WW2 were severely damaged, it was not until 1966 when the Bavarian Council of Ministers decided the reconstruction of the Hall of Fame and the continuation of honouring of Bavarian personalities by setting up of their busts. The renovation was completed in 1972 and the Hall of Fame on 26 October 1972 with the preserved and renovated busts could be reopened.
For the selection of the personalities the Bavarian Council of Ministers is responsible, which is advised by a committee of experts from the Bavarian Ministry of Culture, the Bavarian Academy of Fine Arts, the Bavarian Academy of Sciences, the Bavarian Palace Department, the House of Bavarian History, the Bavarian Ministry of Finance and the LMU (Ludwig Maximilian University).
Bavaria © 2009 Bavaria
The colossal statue of Bavaria forms an artistic unity with the Hall of Fame in the background. The first sketches of Bavaria von Klenze already in his design of the whole ensemble on the model of ancient colossal statues of antiquity had produced. It was modeled after the Colossus of Rhodes, the statue of Zeus of Phidias and especially the Athena Parthenos. Theoretically, it is even possible that a part of the bronze for the Bavaria was once part of the Colossus of Rhodes. After Klenze was awarded the contract for the construction of the ensemble consisting of Hall of Fame and Bavaria, he made more sketches on the Greek model.
Since the statue should be cast according to both of Klenze`s ideas and Ludwig`s wishes in bronze, he included the sculptor Ludwig Schwanthaler, the ore caster Johann Baptist Stiglmaier as well as whose nephew Ferdinand von Miller in the further design and manufacture of the Bavaria statue. While Schwanthaler with his first sketches still held to the classical model in the sense of Klenze, he gave the statue in the further course of his designs increasingly a "Germanic" appearance with typical "German" character. The head and the raised hand he adorned with a wreath of oak and at her side appeared the drawn sword as a sign of her ability to defend herself. At her feet placed Schwanthaler a lion, that always have served as heraldic animal of the Wittelsbach.
The manufacturing of the final designs for the Bavaria statue followed in the years 1839 to 1843. Schwanthaler however the beginning of the foundry did not live because he shortly before that died in April 1844. As first thing, the head of Bavaria was cast in September 1844, in January and March 1845 followed the arms, on 11 October 1845, the breast piece. The last major casting for the bottom part took place on 1 December 1849. The erection and unveiling of Bavaria occurred during Oktoberfest (Munich Beer Festival) 1850. The cost for the production of the statue Ludwig after his abdication as king of Bavaria on 20 March 1848 largely paid from private sources. A special feature of Bavaria is the spiral staircase in its interior, where you can climb up into her head to enjoy from there an incomparable view of the Oktoberfest.
bavarianspaces.de/veranstaltungen/oktoberfest/ruhmeshalle code ...
The Cathedral Basilica of Our Lady of Amiens (French: Basilique Cathédrale Notre-Dame d'Amiens), or simply Amiens Cathedral, is a Roman Catholic cathedral and seat of the Bishop of Amiens (currently Jean-Luc Bouilleret). It is situated on a slight ridge overlooking the River Somme in Amiens, the administrative capital of the Picardy region of France, some 120 kilometres (75 miles) north of Paris. It is the 19th largest church in the world.
Medieval cathedral builders were trying to maximize the internal dimensions in order to reach for the heavens and bring in more light. In that regard, the Amiens cathedral is the tallest complete cathedral in France, its stone-vaulted nave reaching an internal height of 42.30 metres (138.8 ft) (surpassed only by the incomplete Beauvais Cathedral). It also has the greatest interior volume of any French cathedral, estimated at 200,000 cubic metres (260,000 cu yd). The cathedral was built between 1220 and c.1270 and has been listed as a UNESCO World Heritage Site since 1981. Although it has lost most of its original stained glass, Amiens Cathedral is renowned for the quality and quantity of early 13th-century Gothic sculpture in the main west façade and the south transept portal, and a large quantity of polychrome sculpture from later periods inside the building.
The lack of documentation concerning the construction of the Gothic cathedral may be in part the result of fires that destroyed the chapter archives in 1218 and again in 1258—a fire that damaged the cathedral itself. Bishop Evrard de Fouilly initiated work on the cathedral in 1220. Robert de Luzarches was the architect until 1228, and was followed by Thomas de Cormont until 1258. His son, Renaud de Cormont, acted as the architect until 1288. The chronicle of Corbie gives a completion date for the cathedral of 1266. Finishing works continued, however. Its floors are covered with a number of designs, such as the bent cross (to symbolize Jesus' triumph over death). The labyrinth was installed in 1288. The cathedral contains the alleged head of John the Baptist, a relic brought from Constantinople by Wallon de Sarton as he was returning from the Fourth Crusade.
The construction of the cathedral at this period can be seen as resulting from a coming together of necessity and opportunity. The destruction of earlier buildings by fire, and failed attempts at rebuilding forced the fairly rapid construction of a building that, consequently, has a good deal of artistic unity. The long and relatively peaceful reign of Louis IX of France brought a prosperity to the region, based on thriving agriculture and a booming cloth trade, that made the investment possible. The great cathedrals of Reims and Chartres are roughly contemporary.
The original design of the flying buttresses around the choir had them placed too high to counteract the force of the ceiling arch pushing outwards resulting in excessive lateral forces being placed on the vertical columns. The structure was only saved when, centuries later, masons placed a second row of more robust flying buttresses that connected lower down on the outer wall. This fix failed to counteract similar issues with the lower wall which began to develop large cracks around the late Middle Ages. This was solved by another patch that consisted of a wrought iron bar chain being installed around the mezzanine level to resist the forces pushing the stone columns outward. The chain was installed red hot to act as a cinch, tightening as it cooled.
The west front of the cathedral, built in a single campaign from 1220 to 1236, shows an unusual degree of artistic unity: its lower tier with three vast deep porches is capped with the gallery of twenty-two over lifesize kings, which stretches across the entire façade beneath the rose window. Above the rose window there is an open arcade, the galerie des sonneurs. Flanking the nave, the two towers were built without close regard to the former design, the south tower being finished in 1366, the north one, reaching higher, in 1406.
The western portals of the cathedral are famous for their elaborate sculpture, featuring a gallery of locally-important saints and large eschatological scenes. Statues of saints in the portal of the cathedral have been identified as including the locally venerated Saints Victoricus and Gentian, Saint Domitius, Saint Ulphia, and Saint Fermin.
The spire over the central crossing was added between 1529 and 1533. The surface area is 7,700 square meters; the largest in France.
During the process of laser cleaning in the 1990s, it was discovered that the western façade of the cathedral was originally painted in multiple colours. A technique was perfected to determine the exact make-up of the colours as they were applied in the 13th century. Then, in conjunction with the laboratories of EDF and the expertise of the Society Skertzo, elaborate lighting techniques were developed to project these colours directly on the façade with precision, recreating the polychromatic appearance of the 13th century. When projected on the statues around the portals, the result is a stunning display that brings the figures to life.
The full effect of the colour may be best appreciated by direct viewing, with musical accompaniment, which can be done at the Son et lumière shows which are held on Summer evenings, during the Christmas Fair, and over the New Year. (Wikipedia).
The Postcard
The west façade of Amiens Cathedral on a postcard published by L. Caron. The card was posted on Sunday the 5th. January 1919.
Amiens is the chief city of Picardy, in the valley of the River Somme, and is just over 100 km north of Paris.
Amiens Cathedral
The Gothic Cathedral of our Lady of Amiens is the tallest complete cathedral in France, with the greatest interior volume (estimated at 200,000 cubic metres).
According to this estimate, the cathedral could comfortably accommodate well over sixty billion marbles. (Yes, billion, not million!) This number of marbles, laid end to end, would produce a line 900,000 km long - it would encircle the earth 22 times, or stretch to the moon and back nearly two and a half times. It's a big building!
The vaults of the nave are 42.3 metres high. The size of the people in the photograph at the base of the entrance steps give an idea of the sheer scale of the building.
Work on the cathedral started in 1220 and was mostly finished by 1266. The floors include a number of designs, including a swastika. The labyrinth was installed in 1288.
John The Baptist
The cathedral contains what is alleged to be the head of St. John the Baptist, a relic brought back from Constantinople. You can find out what happened to one of his fingers by searching for the tag 65SJD88. There are bits of him all over the place!
In fact the Great Mosque in Damascus also claims to hold the head of John the Baptist.
The West Front
The west front of the cathedral, which is shown in the photograph, was built between 1220 and 1236. It shows an unusual degree of artistic unity. Its lower tier with 3 vast deep porches is capped with a gallery of larger than lifesize kings which stretches across the entire façade beneath the rose window.
The Rose Window
The immense rose window has a diameter of 43 feet (13 m).
Above the rose window is an open arcade - the Galerie des Sonneurs. A sonneur is a player of traditional music, primarily in Brittany, typically playing a clarinet or the Breton bagpipe.
John Buchan
In the 1919 book Mr. Standfast by John Buchan (1875-1940), the character Richard Hannay describes the cathedral as being:
"The noblest church that the
hand of man ever built for God".
The Egg McMuffin
So what else happened on the day that the card was posted?
Well, the 5th. January 1919 marked the birth in Chicago of Herbert Ralph Petersen. Herbert was an early McDonald's restaurant franchisee.
Herbert Ralph 'Herb' Peterson was an American fast food advertising executive and food scientist, best known for being the inventor of the McDonald's Egg McMuffin in 1972.
The breakfast business that he pioneered with this item had grown to an estimated $4–5 billion in annual revenues for McDonald's by 1993.
Life and Career of Herb Peterson
Petersen served in the United States Marine Corps, where he attained the rank of Major in three years during World War II.
He began his career with McDonald's as vice president of D'Arcy Advertising in Chicago, which was McDonald's in-house advertising arm. Peterson coined McDonald's first national advertising slogan:
'Where Quality Starts
Fresh Every Day'.
Herb later became a franchise co-owner and the operator of six McDonald's restaurants in and around Santa Barbara, California.
Peterson developed the Egg McMuffin, which is now a McDonald's breakfast signature item, in 1972. Herb liked Eggs Benedict, so he worked to develop a breakfast item which was similar to it for the fast food chain.
Peterson eventually came up with the Egg McMuffin, which was an egg sandwich consisting of an egg formed in a Teflon circle with the yolk broken, topped with Canadian bacon and a slice of cheese. The Egg McMuffin was originally served as an open-faced sandwich on a buttered and toasted English muffin.
The Egg McMuffin was created and first sold at a McDonald's in Santa Barbara, California (Milpas St. location, with placard outside marking the location) which Peterson co-owned with his son, David Peterson.
Death of Herb Peterson
Peterson died in Santa Barbara on the 25th. March, 2008, at the age of 89. He was survived by his wife, son and three daughters. Herb Peterson is the grandfather of professional surfer Lakey Peterson.
Hall of Fame and Bavaria at the Theresienwiese
The Hall of Fame and Bavaria form the most famous landmarks on the edge of the Theresienwiese and are well worth a visit.
The Hall of Fame and Bavaria form on the Theresien height an ensemble in style of the ancient Acropolis in Athens, which was commissioned by King Ludwig I there. Together with his architect Leo von Klenze King Ludwig I shaped the cityscape of Munich like no other. He was a friend of the monasteries and the academic spirit, and he turned his attention to painting and poetry.
As crown prince Ludwig after the death of his father in 1825 took over the throne of Bavaria he was already dreaming of his "Athens on the Isar" with monumental squares and buildings. Whereas his childhood and youth was influenced by the French Revolution and the subsequent Napoleonic wars, as crown prince he longed for a "Bavarian of all tribes" and a "bigger German nation." In this phase, Ludwig was planning a patriotic monument in the capital city of Munich and for this purpose he already in 1809 by historian Lorenz Westenrieder he had made a list of famous Bavarian representatives of all classes and professions. Approximately 20 years later this list was on his behalf by his Interior Minister Eduard von Schenk - in the meantime Ludwig was King of Bavaria - renewed and expanded.
For the tender for a Hall of Fame above the Theresienwiese with space for 200 busts King Ludwig I invited the best and most prestigious builders of those times:
Friedrich von Gärtner,
Leo von Klenze,
Joseph Daniel Ohlmüller and
Georg Friedrich Ziebland.
Hall of Fame after the scetch of Leo von Klenze
Design by Leo von Klenze
As the court master builder of that time of the king, Leo von Klenze had significant advantages because he on the one hand with the wishes of his client was very familiar and on the other hand also could examine the designs of its competitors in detail. Therefore, it is not surprising that the design of Klenze won the tender of the Hall of Fame in March 1834. He planned the Hall of Fame with a Doric portico in the background and a colossal statue in the foreground.
The construction of the Hall of Fame in the years 1843-1853 actually took place according to the planning of Klenze. After completion of the Hall of Fame, in 1853 the busts of 74 especially venerable Bavarians were set up, in 1868 another 10 were added. The bust of King Ludwig I was only in 1888 in the Hall of Fame erected to commemorate his 100th birthday and supplemented with the following inscription:
"To King Ludwig I to celebrate his 100th birthday, the grateful Munich."
The Hall of Fame itself is 68 meters long, 32 meters wide and stands on a 4.3 meter high pedestal. The roof is supported by the back wall and 48 Doric columns that have a height of about 7 meters and a diameter of 1.25 meters.
Since the Hall of Fame and the in it set up busts in 1944 during an air raid in WW2 were severely damaged, it was not until 1966 when the Bavarian Council of Ministers decided the reconstruction of the Hall of Fame and the continuation of honouring of Bavarian personalities by setting up of their busts. The renovation was completed in 1972 and the Hall of Fame on 26 October 1972 with the preserved and renovated busts could be reopened.
For the selection of the personalities the Bavarian Council of Ministers is responsible, which is advised by a committee of experts from the Bavarian Ministry of Culture, the Bavarian Academy of Fine Arts, the Bavarian Academy of Sciences, the Bavarian Palace Department, the House of Bavarian History, the Bavarian Ministry of Finance and the LMU (Ludwig Maximilian University).
Bavaria © 2009 Bavaria
The colossal statue of Bavaria forms an artistic unity with the Hall of Fame in the background. The first sketches of Bavaria von Klenze already in his design of the whole ensemble on the model of ancient colossal statues of antiquity had produced. It was modeled after the Colossus of Rhodes, the statue of Zeus of Phidias and especially the Athena Parthenos. Theoretically, it is even possible that a part of the bronze for the Bavaria was once part of the Colossus of Rhodes. After Klenze was awarded the contract for the construction of the ensemble consisting of Hall of Fame and Bavaria, he made more sketches on the Greek model.
Since the statue should be cast according to both of Klenze`s ideas and Ludwig`s wishes in bronze, he included the sculptor Ludwig Schwanthaler, the ore caster Johann Baptist Stiglmaier as well as whose nephew Ferdinand von Miller in the further design and manufacture of the Bavaria statue. While Schwanthaler with his first sketches still held to the classical model in the sense of Klenze, he gave the statue in the further course of his designs increasingly a "Germanic" appearance with typical "German" character. The head and the raised hand he adorned with a wreath of oak and at her side appeared the drawn sword as a sign of her ability to defend herself. At her feet placed Schwanthaler a lion, that always have served as heraldic animal of the Wittelsbach.
The manufacturing of the final designs for the Bavaria statue followed in the years 1839 to 1843. Schwanthaler however the beginning of the foundry did not live because he shortly before that died in April 1844. As first thing, the head of Bavaria was cast in September 1844, in January and March 1845 followed the arms, on 11 October 1845, the breast piece. The last major casting for the bottom part took place on 1 December 1849. The erection and unveiling of Bavaria occurred during Oktoberfest (Munich Beer Festival) 1850. The cost for the production of the statue Ludwig after his abdication as king of Bavaria on 20 March 1848 largely paid from private sources. A special feature of Bavaria is the spiral staircase in its interior, where you can climb up into her head to enjoy from there an incomparable view of the Oktoberfest.
bavarianspaces.de/veranstaltungen/oktoberfest/ruhmeshalle code ...
Hall of Fame and Bavaria at the Theresienwiese
The Hall of Fame and Bavaria form the most famous landmarks on the edge of the Theresienwiese and are well worth a visit.
The Hall of Fame and Bavaria form on the Theresien height an ensemble in style of the ancient Acropolis in Athens, which was commissioned by King Ludwig I there. Together with his architect Leo von Klenze King Ludwig I shaped the cityscape of Munich like no other. He was a friend of the monasteries and the academic spirit, and he turned his attention to painting and poetry.
As crown prince Ludwig after the death of his father in 1825 took over the throne of Bavaria he was already dreaming of his "Athens on the Isar" with monumental squares and buildings. Whereas his childhood and youth was influenced by the French Revolution and the subsequent Napoleonic wars, as crown prince he longed for a "Bavarian of all tribes" and a "bigger German nation." In this phase, Ludwig was planning a patriotic monument in the capital city of Munich and for this purpose he already in 1809 by historian Lorenz Westenrieder he had made a list of famous Bavarian representatives of all classes and professions. Approximately 20 years later this list was on his behalf by his Interior Minister Eduard von Schenk - in the meantime Ludwig was King of Bavaria - renewed and expanded.
For the tender for a Hall of Fame above the Theresienwiese with space for 200 busts King Ludwig I invited the best and most prestigious builders of those times:
Friedrich von Gärtner,
Leo von Klenze,
Joseph Daniel Ohlmüller and
Georg Friedrich Ziebland.
Hall of Fame after the scetch of Leo von Klenze
Design by Leo von Klenze
As the court master builder of that time of the king, Leo von Klenze had significant advantages because he on the one hand with the wishes of his client was very familiar and on the other hand also could examine the designs of its competitors in detail. Therefore, it is not surprising that the design of Klenze won the tender of the Hall of Fame in March 1834. He planned the Hall of Fame with a Doric portico in the background and a colossal statue in the foreground.
The construction of the Hall of Fame in the years 1843-1853 actually took place according to the planning of Klenze. After completion of the Hall of Fame, in 1853 the busts of 74 especially venerable Bavarians were set up, in 1868 another 10 were added. The bust of King Ludwig I was only in 1888 in the Hall of Fame erected to commemorate his 100th birthday and supplemented with the following inscription:
"To King Ludwig I to celebrate his 100th birthday, the grateful Munich."
The Hall of Fame itself is 68 meters long, 32 meters wide and stands on a 4.3 meter high pedestal. The roof is supported by the back wall and 48 Doric columns that have a height of about 7 meters and a diameter of 1.25 meters.
Since the Hall of Fame and the in it set up busts in 1944 during an air raid in WW2 were severely damaged, it was not until 1966 when the Bavarian Council of Ministers decided the reconstruction of the Hall of Fame and the continuation of honouring of Bavarian personalities by setting up of their busts. The renovation was completed in 1972 and the Hall of Fame on 26 October 1972 with the preserved and renovated busts could be reopened.
For the selection of the personalities the Bavarian Council of Ministers is responsible, which is advised by a committee of experts from the Bavarian Ministry of Culture, the Bavarian Academy of Fine Arts, the Bavarian Academy of Sciences, the Bavarian Palace Department, the House of Bavarian History, the Bavarian Ministry of Finance and the LMU (Ludwig Maximilian University).
Bavaria © 2009 Bavaria
The colossal statue of Bavaria forms an artistic unity with the Hall of Fame in the background. The first sketches of Bavaria von Klenze already in his design of the whole ensemble on the model of ancient colossal statues of antiquity had produced. It was modeled after the Colossus of Rhodes, the statue of Zeus of Phidias and especially the Athena Parthenos. Theoretically, it is even possible that a part of the bronze for the Bavaria was once part of the Colossus of Rhodes. After Klenze was awarded the contract for the construction of the ensemble consisting of Hall of Fame and Bavaria, he made more sketches on the Greek model.
Since the statue should be cast according to both of Klenze`s ideas and Ludwig`s wishes in bronze, he included the sculptor Ludwig Schwanthaler, the ore caster Johann Baptist Stiglmaier as well as whose nephew Ferdinand von Miller in the further design and manufacture of the Bavaria statue. While Schwanthaler with his first sketches still held to the classical model in the sense of Klenze, he gave the statue in the further course of his designs increasingly a "Germanic" appearance with typical "German" character. The head and the raised hand he adorned with a wreath of oak and at her side appeared the drawn sword as a sign of her ability to defend herself. At her feet placed Schwanthaler a lion, that always have served as heraldic animal of the Wittelsbach.
The manufacturing of the final designs for the Bavaria statue followed in the years 1839 to 1843. Schwanthaler however the beginning of the foundry did not live because he shortly before that died in April 1844. As first thing, the head of Bavaria was cast in September 1844, in January and March 1845 followed the arms, on 11 October 1845, the breast piece. The last major casting for the bottom part took place on 1 December 1849. The erection and unveiling of Bavaria occurred during Oktoberfest (Munich Beer Festival) 1850. The cost for the production of the statue Ludwig after his abdication as king of Bavaria on 20 March 1848 largely paid from private sources. A special feature of Bavaria is the spiral staircase in its interior, where you can climb up into her head to enjoy from there an incomparable view of the Oktoberfest.
bavarianspaces.de/veranstaltungen/oktoberfest/ruhmeshalle code ...
#arty #arthubs #artoftheday #artopia_world #pencilcolor #artpublicity #colorful #beyondrealistic #arts_funds #artistic_today #iartpost #charmingart #portrait #artistic_unity_ #artistic_dome #artistuniversity #artstagram #photooftheday #artist_4_shoutout #man #staedtler #staedtlerpencils #pencilcolorart #arte #artsanity #portraitart #blvart #art_spotlight #artisticdreamerss #worldofpencils
Hall of Fame and Bavaria at the Theresienwiese
The Hall of Fame and Bavaria form the most famous landmarks on the edge of the Theresienwiese and are well worth a visit.
The Hall of Fame and Bavaria form on the Theresien height an ensemble in style of the ancient Acropolis in Athens, which was commissioned by King Ludwig I there. Together with his architect Leo von Klenze King Ludwig I shaped the cityscape of Munich like no other. He was a friend of the monasteries and the academic spirit, and he turned his attention to painting and poetry.
As crown prince Ludwig after the death of his father in 1825 took over the throne of Bavaria he was already dreaming of his "Athens on the Isar" with monumental squares and buildings. Whereas his childhood and youth was influenced by the French Revolution and the subsequent Napoleonic wars, as crown prince he longed for a "Bavarian of all tribes" and a "bigger German nation." In this phase, Ludwig was planning a patriotic monument in the capital city of Munich and for this purpose he already in 1809 by historian Lorenz Westenrieder he had made a list of famous Bavarian representatives of all classes and professions. Approximately 20 years later this list was on his behalf by his Interior Minister Eduard von Schenk - in the meantime Ludwig was King of Bavaria - renewed and expanded.
For the tender for a Hall of Fame above the Theresienwiese with space for 200 busts King Ludwig I invited the best and most prestigious builders of those times:
Friedrich von Gärtner,
Leo von Klenze,
Joseph Daniel Ohlmüller and
Georg Friedrich Ziebland.
Hall of Fame after the scetch of Leo von Klenze
Design by Leo von Klenze
As the court master builder of that time of the king, Leo von Klenze had significant advantages because he on the one hand with the wishes of his client was very familiar and on the other hand also could examine the designs of its competitors in detail. Therefore, it is not surprising that the design of Klenze won the tender of the Hall of Fame in March 1834. He planned the Hall of Fame with a Doric portico in the background and a colossal statue in the foreground.
The construction of the Hall of Fame in the years 1843-1853 actually took place according to the planning of Klenze. After completion of the Hall of Fame, in 1853 the busts of 74 especially venerable Bavarians were set up, in 1868 another 10 were added. The bust of King Ludwig I was only in 1888 in the Hall of Fame erected to commemorate his 100th birthday and supplemented with the following inscription:
"To King Ludwig I to celebrate his 100th birthday, the grateful Munich."
The Hall of Fame itself is 68 meters long, 32 meters wide and stands on a 4.3 meter high pedestal. The roof is supported by the back wall and 48 Doric columns that have a height of about 7 meters and a diameter of 1.25 meters.
Since the Hall of Fame and the in it set up busts in 1944 during an air raid in WW2 were severely damaged, it was not until 1966 when the Bavarian Council of Ministers decided the reconstruction of the Hall of Fame and the continuation of honouring of Bavarian personalities by setting up of their busts. The renovation was completed in 1972 and the Hall of Fame on 26 October 1972 with the preserved and renovated busts could be reopened.
For the selection of the personalities the Bavarian Council of Ministers is responsible, which is advised by a committee of experts from the Bavarian Ministry of Culture, the Bavarian Academy of Fine Arts, the Bavarian Academy of Sciences, the Bavarian Palace Department, the House of Bavarian History, the Bavarian Ministry of Finance and the LMU (Ludwig Maximilian University).
Bavaria © 2009 Bavaria
The colossal statue of Bavaria forms an artistic unity with the Hall of Fame in the background. The first sketches of Bavaria von Klenze already in his design of the whole ensemble on the model of ancient colossal statues of antiquity had produced. It was modeled after the Colossus of Rhodes, the statue of Zeus of Phidias and especially the Athena Parthenos. Theoretically, it is even possible that a part of the bronze for the Bavaria was once part of the Colossus of Rhodes. After Klenze was awarded the contract for the construction of the ensemble consisting of Hall of Fame and Bavaria, he made more sketches on the Greek model.
Since the statue should be cast according to both of Klenze`s ideas and Ludwig`s wishes in bronze, he included the sculptor Ludwig Schwanthaler, the ore caster Johann Baptist Stiglmaier as well as whose nephew Ferdinand von Miller in the further design and manufacture of the Bavaria statue. While Schwanthaler with his first sketches still held to the classical model in the sense of Klenze, he gave the statue in the further course of his designs increasingly a "Germanic" appearance with typical "German" character. The head and the raised hand he adorned with a wreath of oak and at her side appeared the drawn sword as a sign of her ability to defend herself. At her feet placed Schwanthaler a lion, that always have served as heraldic animal of the Wittelsbach.
The manufacturing of the final designs for the Bavaria statue followed in the years 1839 to 1843. Schwanthaler however the beginning of the foundry did not live because he shortly before that died in April 1844. As first thing, the head of Bavaria was cast in September 1844, in January and March 1845 followed the arms, on 11 October 1845, the breast piece. The last major casting for the bottom part took place on 1 December 1849. The erection and unveiling of Bavaria occurred during Oktoberfest (Munich Beer Festival) 1850. The cost for the production of the statue Ludwig after his abdication as king of Bavaria on 20 March 1848 largely paid from private sources. A special feature of Bavaria is the spiral staircase in its interior, where you can climb up into her head to enjoy from there an incomparable view of the Oktoberfest.
bavarianspaces.de/veranstaltungen/oktoberfest/ruhmeshalle code ...
Hall of Fame and Bavaria at the Theresienwiese
The Hall of Fame and Bavaria form the most famous landmarks on the edge of the Theresienwiese and are well worth a visit.
The Hall of Fame and Bavaria form on the Theresien height an ensemble in style of the ancient Acropolis in Athens, which was commissioned by King Ludwig I there. Together with his architect Leo von Klenze King Ludwig I shaped the cityscape of Munich like no other. He was a friend of the monasteries and the academic spirit, and he turned his attention to painting and poetry.
As crown prince Ludwig after the death of his father in 1825 took over the throne of Bavaria he was already dreaming of his "Athens on the Isar" with monumental squares and buildings. Whereas his childhood and youth was influenced by the French Revolution and the subsequent Napoleonic wars, as crown prince he longed for a "Bavarian of all tribes" and a "bigger German nation." In this phase, Ludwig was planning a patriotic monument in the capital city of Munich and for this purpose he already in 1809 by historian Lorenz Westenrieder he had made a list of famous Bavarian representatives of all classes and professions. Approximately 20 years later this list was on his behalf by his Interior Minister Eduard von Schenk - in the meantime Ludwig was King of Bavaria - renewed and expanded.
For the tender for a Hall of Fame above the Theresienwiese with space for 200 busts King Ludwig I invited the best and most prestigious builders of those times:
Friedrich von Gärtner,
Leo von Klenze,
Joseph Daniel Ohlmüller and
Georg Friedrich Ziebland.
Hall of Fame after the scetch of Leo von Klenze
Design by Leo von Klenze
As the court master builder of that time of the king, Leo von Klenze had significant advantages because he on the one hand with the wishes of his client was very familiar and on the other hand also could examine the designs of its competitors in detail. Therefore, it is not surprising that the design of Klenze won the tender of the Hall of Fame in March 1834. He planned the Hall of Fame with a Doric portico in the background and a colossal statue in the foreground.
The construction of the Hall of Fame in the years 1843-1853 actually took place according to the planning of Klenze. After completion of the Hall of Fame, in 1853 the busts of 74 especially venerable Bavarians were set up, in 1868 another 10 were added. The bust of King Ludwig I was only in 1888 in the Hall of Fame erected to commemorate his 100th birthday and supplemented with the following inscription:
"To King Ludwig I to celebrate his 100th birthday, the grateful Munich."
The Hall of Fame itself is 68 meters long, 32 meters wide and stands on a 4.3 meter high pedestal. The roof is supported by the back wall and 48 Doric columns that have a height of about 7 meters and a diameter of 1.25 meters.
Since the Hall of Fame and the in it set up busts in 1944 during an air raid in WW2 were severely damaged, it was not until 1966 when the Bavarian Council of Ministers decided the reconstruction of the Hall of Fame and the continuation of honouring of Bavarian personalities by setting up of their busts. The renovation was completed in 1972 and the Hall of Fame on 26 October 1972 with the preserved and renovated busts could be reopened.
For the selection of the personalities the Bavarian Council of Ministers is responsible, which is advised by a committee of experts from the Bavarian Ministry of Culture, the Bavarian Academy of Fine Arts, the Bavarian Academy of Sciences, the Bavarian Palace Department, the House of Bavarian History, the Bavarian Ministry of Finance and the LMU (Ludwig Maximilian University).
Bavaria © 2009 Bavaria
The colossal statue of Bavaria forms an artistic unity with the Hall of Fame in the background. The first sketches of Bavaria von Klenze already in his design of the whole ensemble on the model of ancient colossal statues of antiquity had produced. It was modeled after the Colossus of Rhodes, the statue of Zeus of Phidias and especially the Athena Parthenos. Theoretically, it is even possible that a part of the bronze for the Bavaria was once part of the Colossus of Rhodes. After Klenze was awarded the contract for the construction of the ensemble consisting of Hall of Fame and Bavaria, he made more sketches on the Greek model.
Since the statue should be cast according to both of Klenze`s ideas and Ludwig`s wishes in bronze, he included the sculptor Ludwig Schwanthaler, the ore caster Johann Baptist Stiglmaier as well as whose nephew Ferdinand von Miller in the further design and manufacture of the Bavaria statue. While Schwanthaler with his first sketches still held to the classical model in the sense of Klenze, he gave the statue in the further course of his designs increasingly a "Germanic" appearance with typical "German" character. The head and the raised hand he adorned with a wreath of oak and at her side appeared the drawn sword as a sign of her ability to defend herself. At her feet placed Schwanthaler a lion, that always have served as heraldic animal of the Wittelsbach.
The manufacturing of the final designs for the Bavaria statue followed in the years 1839 to 1843. Schwanthaler however the beginning of the foundry did not live because he shortly before that died in April 1844. As first thing, the head of Bavaria was cast in September 1844, in January and March 1845 followed the arms, on 11 October 1845, the breast piece. The last major casting for the bottom part took place on 1 December 1849. The erection and unveiling of Bavaria occurred during Oktoberfest (Munich Beer Festival) 1850. The cost for the production of the statue Ludwig after his abdication as king of Bavaria on 20 March 1848 largely paid from private sources. A special feature of Bavaria is the spiral staircase in its interior, where you can climb up into her head to enjoy from there an incomparable view of the Oktoberfest.
bavarianspaces.de/veranstaltungen/oktoberfest/ruhmeshalle code ...
Hall of Fame and Bavaria at the Theresienwiese
The Hall of Fame and Bavaria form the most famous landmarks on the edge of the Theresienwiese and are well worth a visit.
The Hall of Fame and Bavaria form on the Theresien height an ensemble in style of the ancient Acropolis in Athens, which was commissioned by King Ludwig I there. Together with his architect Leo von Klenze King Ludwig I shaped the cityscape of Munich like no other. He was a friend of the monasteries and the academic spirit, and he turned his attention to painting and poetry.
As crown prince Ludwig after the death of his father in 1825 took over the throne of Bavaria he was already dreaming of his "Athens on the Isar" with monumental squares and buildings. Whereas his childhood and youth was influenced by the French Revolution and the subsequent Napoleonic wars, as crown prince he longed for a "Bavarian of all tribes" and a "bigger German nation." In this phase, Ludwig was planning a patriotic monument in the capital city of Munich and for this purpose he already in 1809 by historian Lorenz Westenrieder he had made a list of famous Bavarian representatives of all classes and professions. Approximately 20 years later this list was on his behalf by his Interior Minister Eduard von Schenk - in the meantime Ludwig was King of Bavaria - renewed and expanded.
For the tender for a Hall of Fame above the Theresienwiese with space for 200 busts King Ludwig I invited the best and most prestigious builders of those times:
Friedrich von Gärtner,
Leo von Klenze,
Joseph Daniel Ohlmüller and
Georg Friedrich Ziebland.
Hall of Fame after the scetch of Leo von Klenze
Design by Leo von Klenze
As the court master builder of that time of the king, Leo von Klenze had significant advantages because he on the one hand with the wishes of his client was very familiar and on the other hand also could examine the designs of its competitors in detail. Therefore, it is not surprising that the design of Klenze won the tender of the Hall of Fame in March 1834. He planned the Hall of Fame with a Doric portico in the background and a colossal statue in the foreground.
The construction of the Hall of Fame in the years 1843-1853 actually took place according to the planning of Klenze. After completion of the Hall of Fame, in 1853 the busts of 74 especially venerable Bavarians were set up, in 1868 another 10 were added. The bust of King Ludwig I was only in 1888 in the Hall of Fame erected to commemorate his 100th birthday and supplemented with the following inscription:
"To King Ludwig I to celebrate his 100th birthday, the grateful Munich."
The Hall of Fame itself is 68 meters long, 32 meters wide and stands on a 4.3 meter high pedestal. The roof is supported by the back wall and 48 Doric columns that have a height of about 7 meters and a diameter of 1.25 meters.
Since the Hall of Fame and the in it set up busts in 1944 during an air raid in WW2 were severely damaged, it was not until 1966 when the Bavarian Council of Ministers decided the reconstruction of the Hall of Fame and the continuation of honouring of Bavarian personalities by setting up of their busts. The renovation was completed in 1972 and the Hall of Fame on 26 October 1972 with the preserved and renovated busts could be reopened.
For the selection of the personalities the Bavarian Council of Ministers is responsible, which is advised by a committee of experts from the Bavarian Ministry of Culture, the Bavarian Academy of Fine Arts, the Bavarian Academy of Sciences, the Bavarian Palace Department, the House of Bavarian History, the Bavarian Ministry of Finance and the LMU (Ludwig Maximilian University).
Bavaria © 2009 Bavaria
The colossal statue of Bavaria forms an artistic unity with the Hall of Fame in the background. The first sketches of Bavaria von Klenze already in his design of the whole ensemble on the model of ancient colossal statues of antiquity had produced. It was modeled after the Colossus of Rhodes, the statue of Zeus of Phidias and especially the Athena Parthenos. Theoretically, it is even possible that a part of the bronze for the Bavaria was once part of the Colossus of Rhodes. After Klenze was awarded the contract for the construction of the ensemble consisting of Hall of Fame and Bavaria, he made more sketches on the Greek model.
Since the statue should be cast according to both of Klenze`s ideas and Ludwig`s wishes in bronze, he included the sculptor Ludwig Schwanthaler, the ore caster Johann Baptist Stiglmaier as well as whose nephew Ferdinand von Miller in the further design and manufacture of the Bavaria statue. While Schwanthaler with his first sketches still held to the classical model in the sense of Klenze, he gave the statue in the further course of his designs increasingly a "Germanic" appearance with typical "German" character. The head and the raised hand he adorned with a wreath of oak and at her side appeared the drawn sword as a sign of her ability to defend herself. At her feet placed Schwanthaler a lion, that always have served as heraldic animal of the Wittelsbach.
The manufacturing of the final designs for the Bavaria statue followed in the years 1839 to 1843. Schwanthaler however the beginning of the foundry did not live because he shortly before that died in April 1844. As first thing, the head of Bavaria was cast in September 1844, in January and March 1845 followed the arms, on 11 October 1845, the breast piece. The last major casting for the bottom part took place on 1 December 1849. The erection and unveiling of Bavaria occurred during Oktoberfest (Munich Beer Festival) 1850. The cost for the production of the statue Ludwig after his abdication as king of Bavaria on 20 March 1848 largely paid from private sources. A special feature of Bavaria is the spiral staircase in its interior, where you can climb up into her head to enjoy from there an incomparable view of the Oktoberfest.
bavarianspaces.de/veranstaltungen/oktoberfest/ruhmeshalle code ...
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Hall of Fame and Bavaria at the Theresienwiese
The Hall of Fame and Bavaria form the most famous landmarks on the edge of the Theresienwiese and are well worth a visit.
The Hall of Fame and Bavaria form on the Theresien height an ensemble in style of the ancient Acropolis in Athens, which was commissioned by King Ludwig I there. Together with his architect Leo von Klenze King Ludwig I shaped the cityscape of Munich like no other. He was a friend of the monasteries and the academic spirit, and he turned his attention to painting and poetry.
As crown prince Ludwig after the death of his father in 1825 took over the throne of Bavaria he was already dreaming of his "Athens on the Isar" with monumental squares and buildings. Whereas his childhood and youth was influenced by the French Revolution and the subsequent Napoleonic wars, as crown prince he longed for a "Bavarian of all tribes" and a "bigger German nation." In this phase, Ludwig was planning a patriotic monument in the capital city of Munich and for this purpose he already in 1809 by historian Lorenz Westenrieder he had made a list of famous Bavarian representatives of all classes and professions. Approximately 20 years later this list was on his behalf by his Interior Minister Eduard von Schenk - in the meantime Ludwig was King of Bavaria - renewed and expanded.
For the tender for a Hall of Fame above the Theresienwiese with space for 200 busts King Ludwig I invited the best and most prestigious builders of those times:
Friedrich von Gärtner,
Leo von Klenze,
Joseph Daniel Ohlmüller and
Georg Friedrich Ziebland.
Hall of Fame after the scetch of Leo von Klenze
Design by Leo von Klenze
As the court master builder of that time of the king, Leo von Klenze had significant advantages because he on the one hand with the wishes of his client was very familiar and on the other hand also could examine the designs of its competitors in detail. Therefore, it is not surprising that the design of Klenze won the tender of the Hall of Fame in March 1834. He planned the Hall of Fame with a Doric portico in the background and a colossal statue in the foreground.
The construction of the Hall of Fame in the years 1843-1853 actually took place according to the planning of Klenze. After completion of the Hall of Fame, in 1853 the busts of 74 especially venerable Bavarians were set up, in 1868 another 10 were added. The bust of King Ludwig I was only in 1888 in the Hall of Fame erected to commemorate his 100th birthday and supplemented with the following inscription:
"To King Ludwig I to celebrate his 100th birthday, the grateful Munich."
The Hall of Fame itself is 68 meters long, 32 meters wide and stands on a 4.3 meter high pedestal. The roof is supported by the back wall and 48 Doric columns that have a height of about 7 meters and a diameter of 1.25 meters.
Since the Hall of Fame and the in it set up busts in 1944 during an air raid in WW2 were severely damaged, it was not until 1966 when the Bavarian Council of Ministers decided the reconstruction of the Hall of Fame and the continuation of honouring of Bavarian personalities by setting up of their busts. The renovation was completed in 1972 and the Hall of Fame on 26 October 1972 with the preserved and renovated busts could be reopened.
For the selection of the personalities the Bavarian Council of Ministers is responsible, which is advised by a committee of experts from the Bavarian Ministry of Culture, the Bavarian Academy of Fine Arts, the Bavarian Academy of Sciences, the Bavarian Palace Department, the House of Bavarian History, the Bavarian Ministry of Finance and the LMU (Ludwig Maximilian University).
Bavaria © 2009 Bavaria
The colossal statue of Bavaria forms an artistic unity with the Hall of Fame in the background. The first sketches of Bavaria von Klenze already in his design of the whole ensemble on the model of ancient colossal statues of antiquity had produced. It was modeled after the Colossus of Rhodes, the statue of Zeus of Phidias and especially the Athena Parthenos. Theoretically, it is even possible that a part of the bronze for the Bavaria was once part of the Colossus of Rhodes. After Klenze was awarded the contract for the construction of the ensemble consisting of Hall of Fame and Bavaria, he made more sketches on the Greek model.
Since the statue should be cast according to both of Klenze`s ideas and Ludwig`s wishes in bronze, he included the sculptor Ludwig Schwanthaler, the ore caster Johann Baptist Stiglmaier as well as whose nephew Ferdinand von Miller in the further design and manufacture of the Bavaria statue. While Schwanthaler with his first sketches still held to the classical model in the sense of Klenze, he gave the statue in the further course of his designs increasingly a "Germanic" appearance with typical "German" character. The head and the raised hand he adorned with a wreath of oak and at her side appeared the drawn sword as a sign of her ability to defend herself. At her feet placed Schwanthaler a lion, that always have served as heraldic animal of the Wittelsbach.
The manufacturing of the final designs for the Bavaria statue followed in the years 1839 to 1843. Schwanthaler however the beginning of the foundry did not live because he shortly before that died in April 1844. As first thing, the head of Bavaria was cast in September 1844, in January and March 1845 followed the arms, on 11 October 1845, the breast piece. The last major casting for the bottom part took place on 1 December 1849. The erection and unveiling of Bavaria occurred during Oktoberfest (Munich Beer Festival) 1850. The cost for the production of the statue Ludwig after his abdication as king of Bavaria on 20 March 1848 largely paid from private sources. A special feature of Bavaria is the spiral staircase in its interior, where you can climb up into her head to enjoy from there an incomparable view of the Oktoberfest.
bavarianspaces.de/veranstaltungen/oktoberfest/ruhmeshalle code ...
Hall of Fame and Bavaria at the Theresienwiese
The Hall of Fame and Bavaria form the most famous landmarks on the edge of the Theresienwiese and are well worth a visit.
The Hall of Fame and Bavaria form on the Theresien height an ensemble in style of the ancient Acropolis in Athens, which was commissioned by King Ludwig I there. Together with his architect Leo von Klenze King Ludwig I shaped the cityscape of Munich like no other. He was a friend of the monasteries and the academic spirit, and he turned his attention to painting and poetry.
As crown prince Ludwig after the death of his father in 1825 took over the throne of Bavaria he was already dreaming of his "Athens on the Isar" with monumental squares and buildings. Whereas his childhood and youth was influenced by the French Revolution and the subsequent Napoleonic wars, as crown prince he longed for a "Bavarian of all tribes" and a "bigger German nation." In this phase, Ludwig was planning a patriotic monument in the capital city of Munich and for this purpose he already in 1809 by historian Lorenz Westenrieder he had made a list of famous Bavarian representatives of all classes and professions. Approximately 20 years later this list was on his behalf by his Interior Minister Eduard von Schenk - in the meantime Ludwig was King of Bavaria - renewed and expanded.
For the tender for a Hall of Fame above the Theresienwiese with space for 200 busts King Ludwig I invited the best and most prestigious builders of those times:
Friedrich von Gärtner,
Leo von Klenze,
Joseph Daniel Ohlmüller and
Georg Friedrich Ziebland.
Hall of Fame after the scetch of Leo von Klenze
Design by Leo von Klenze
As the court master builder of that time of the king, Leo von Klenze had significant advantages because he on the one hand with the wishes of his client was very familiar and on the other hand also could examine the designs of its competitors in detail. Therefore, it is not surprising that the design of Klenze won the tender of the Hall of Fame in March 1834. He planned the Hall of Fame with a Doric portico in the background and a colossal statue in the foreground.
The construction of the Hall of Fame in the years 1843-1853 actually took place according to the planning of Klenze. After completion of the Hall of Fame, in 1853 the busts of 74 especially venerable Bavarians were set up, in 1868 another 10 were added. The bust of King Ludwig I was only in 1888 in the Hall of Fame erected to commemorate his 100th birthday and supplemented with the following inscription:
"To King Ludwig I to celebrate his 100th birthday, the grateful Munich."
The Hall of Fame itself is 68 meters long, 32 meters wide and stands on a 4.3 meter high pedestal. The roof is supported by the back wall and 48 Doric columns that have a height of about 7 meters and a diameter of 1.25 meters.
Since the Hall of Fame and the in it set up busts in 1944 during an air raid in WW2 were severely damaged, it was not until 1966 when the Bavarian Council of Ministers decided the reconstruction of the Hall of Fame and the continuation of honouring of Bavarian personalities by setting up of their busts. The renovation was completed in 1972 and the Hall of Fame on 26 October 1972 with the preserved and renovated busts could be reopened.
For the selection of the personalities the Bavarian Council of Ministers is responsible, which is advised by a committee of experts from the Bavarian Ministry of Culture, the Bavarian Academy of Fine Arts, the Bavarian Academy of Sciences, the Bavarian Palace Department, the House of Bavarian History, the Bavarian Ministry of Finance and the LMU (Ludwig Maximilian University).
Bavaria © 2009 Bavaria
The colossal statue of Bavaria forms an artistic unity with the Hall of Fame in the background. The first sketches of Bavaria von Klenze already in his design of the whole ensemble on the model of ancient colossal statues of antiquity had produced. It was modeled after the Colossus of Rhodes, the statue of Zeus of Phidias and especially the Athena Parthenos. Theoretically, it is even possible that a part of the bronze for the Bavaria was once part of the Colossus of Rhodes. After Klenze was awarded the contract for the construction of the ensemble consisting of Hall of Fame and Bavaria, he made more sketches on the Greek model.
Since the statue should be cast according to both of Klenze`s ideas and Ludwig`s wishes in bronze, he included the sculptor Ludwig Schwanthaler, the ore caster Johann Baptist Stiglmaier as well as whose nephew Ferdinand von Miller in the further design and manufacture of the Bavaria statue. While Schwanthaler with his first sketches still held to the classical model in the sense of Klenze, he gave the statue in the further course of his designs increasingly a "Germanic" appearance with typical "German" character. The head and the raised hand he adorned with a wreath of oak and at her side appeared the drawn sword as a sign of her ability to defend herself. At her feet placed Schwanthaler a lion, that always have served as heraldic animal of the Wittelsbach.
The manufacturing of the final designs for the Bavaria statue followed in the years 1839 to 1843. Schwanthaler however the beginning of the foundry did not live because he shortly before that died in April 1844. As first thing, the head of Bavaria was cast in September 1844, in January and March 1845 followed the arms, on 11 October 1845, the breast piece. The last major casting for the bottom part took place on 1 December 1849. The erection and unveiling of Bavaria occurred during Oktoberfest (Munich Beer Festival) 1850. The cost for the production of the statue Ludwig after his abdication as king of Bavaria on 20 March 1848 largely paid from private sources. A special feature of Bavaria is the spiral staircase in its interior, where you can climb up into her head to enjoy from there an incomparable view of the Oktoberfest.
bavarianspaces.de/veranstaltungen/oktoberfest/ruhmeshalle code ...
Hall of Fame and Bavaria at the Theresienwiese
The Hall of Fame and Bavaria form the most famous landmarks on the edge of the Theresienwiese and are well worth a visit.
The Hall of Fame and Bavaria form on the Theresien height an ensemble in style of the ancient Acropolis in Athens, which was commissioned by King Ludwig I there. Together with his architect Leo von Klenze King Ludwig I shaped the cityscape of Munich like no other. He was a friend of the monasteries and the academic spirit, and he turned his attention to painting and poetry.
As crown prince Ludwig after the death of his father in 1825 took over the throne of Bavaria he was already dreaming of his "Athens on the Isar" with monumental squares and buildings. Whereas his childhood and youth was influenced by the French Revolution and the subsequent Napoleonic wars, as crown prince he longed for a "Bavarian of all tribes" and a "bigger German nation." In this phase, Ludwig was planning a patriotic monument in the capital city of Munich and for this purpose he already in 1809 by historian Lorenz Westenrieder he had made a list of famous Bavarian representatives of all classes and professions. Approximately 20 years later this list was on his behalf by his Interior Minister Eduard von Schenk - in the meantime Ludwig was King of Bavaria - renewed and expanded.
For the tender for a Hall of Fame above the Theresienwiese with space for 200 busts King Ludwig I invited the best and most prestigious builders of those times:
Friedrich von Gärtner,
Leo von Klenze,
Joseph Daniel Ohlmüller and
Georg Friedrich Ziebland.
Hall of Fame after the scetch of Leo von Klenze
Design by Leo von Klenze
As the court master builder of that time of the king, Leo von Klenze had significant advantages because he on the one hand with the wishes of his client was very familiar and on the other hand also could examine the designs of its competitors in detail. Therefore, it is not surprising that the design of Klenze won the tender of the Hall of Fame in March 1834. He planned the Hall of Fame with a Doric portico in the background and a colossal statue in the foreground.
The construction of the Hall of Fame in the years 1843-1853 actually took place according to the planning of Klenze. After completion of the Hall of Fame, in 1853 the busts of 74 especially venerable Bavarians were set up, in 1868 another 10 were added. The bust of King Ludwig I was only in 1888 in the Hall of Fame erected to commemorate his 100th birthday and supplemented with the following inscription:
"To King Ludwig I to celebrate his 100th birthday, the grateful Munich."
The Hall of Fame itself is 68 meters long, 32 meters wide and stands on a 4.3 meter high pedestal. The roof is supported by the back wall and 48 Doric columns that have a height of about 7 meters and a diameter of 1.25 meters.
Since the Hall of Fame and the in it set up busts in 1944 during an air raid in WW2 were severely damaged, it was not until 1966 when the Bavarian Council of Ministers decided the reconstruction of the Hall of Fame and the continuation of honouring of Bavarian personalities by setting up of their busts. The renovation was completed in 1972 and the Hall of Fame on 26 October 1972 with the preserved and renovated busts could be reopened.
For the selection of the personalities the Bavarian Council of Ministers is responsible, which is advised by a committee of experts from the Bavarian Ministry of Culture, the Bavarian Academy of Fine Arts, the Bavarian Academy of Sciences, the Bavarian Palace Department, the House of Bavarian History, the Bavarian Ministry of Finance and the LMU (Ludwig Maximilian University).
Bavaria © 2009 Bavaria
The colossal statue of Bavaria forms an artistic unity with the Hall of Fame in the background. The first sketches of Bavaria von Klenze already in his design of the whole ensemble on the model of ancient colossal statues of antiquity had produced. It was modeled after the Colossus of Rhodes, the statue of Zeus of Phidias and especially the Athena Parthenos. Theoretically, it is even possible that a part of the bronze for the Bavaria was once part of the Colossus of Rhodes. After Klenze was awarded the contract for the construction of the ensemble consisting of Hall of Fame and Bavaria, he made more sketches on the Greek model.
Since the statue should be cast according to both of Klenze`s ideas and Ludwig`s wishes in bronze, he included the sculptor Ludwig Schwanthaler, the ore caster Johann Baptist Stiglmaier as well as whose nephew Ferdinand von Miller in the further design and manufacture of the Bavaria statue. While Schwanthaler with his first sketches still held to the classical model in the sense of Klenze, he gave the statue in the further course of his designs increasingly a "Germanic" appearance with typical "German" character. The head and the raised hand he adorned with a wreath of oak and at her side appeared the drawn sword as a sign of her ability to defend herself. At her feet placed Schwanthaler a lion, that always have served as heraldic animal of the Wittelsbach.
The manufacturing of the final designs for the Bavaria statue followed in the years 1839 to 1843. Schwanthaler however the beginning of the foundry did not live because he shortly before that died in April 1844. As first thing, the head of Bavaria was cast in September 1844, in January and March 1845 followed the arms, on 11 October 1845, the breast piece. The last major casting for the bottom part took place on 1 December 1849. The erection and unveiling of Bavaria occurred during Oktoberfest (Munich Beer Festival) 1850. The cost for the production of the statue Ludwig after his abdication as king of Bavaria on 20 March 1848 largely paid from private sources. A special feature of Bavaria is the spiral staircase in its interior, where you can climb up into her head to enjoy from there an incomparable view of the Oktoberfest.
bavarianspaces.de/veranstaltungen/oktoberfest/ruhmeshalle code ...
Hall of Fame and Bavaria at the Theresienwiese
The Hall of Fame and Bavaria form the most famous landmarks on the edge of the Theresienwiese and are well worth a visit.
The Hall of Fame and Bavaria form on the Theresien height an ensemble in style of the ancient Acropolis in Athens, which was commissioned by King Ludwig I there. Together with his architect Leo von Klenze King Ludwig I shaped the cityscape of Munich like no other. He was a friend of the monasteries and the academic spirit, and he turned his attention to painting and poetry.
As crown prince Ludwig after the death of his father in 1825 took over the throne of Bavaria he was already dreaming of his "Athens on the Isar" with monumental squares and buildings. Whereas his childhood and youth was influenced by the French Revolution and the subsequent Napoleonic wars, as crown prince he longed for a "Bavarian of all tribes" and a "bigger German nation." In this phase, Ludwig was planning a patriotic monument in the capital city of Munich and for this purpose he already in 1809 by historian Lorenz Westenrieder he had made a list of famous Bavarian representatives of all classes and professions. Approximately 20 years later this list was on his behalf by his Interior Minister Eduard von Schenk - in the meantime Ludwig was King of Bavaria - renewed and expanded.
For the tender for a Hall of Fame above the Theresienwiese with space for 200 busts King Ludwig I invited the best and most prestigious builders of those times:
Friedrich von Gärtner,
Leo von Klenze,
Joseph Daniel Ohlmüller and
Georg Friedrich Ziebland.
Hall of Fame after the scetch of Leo von Klenze
Design by Leo von Klenze
As the court master builder of that time of the king, Leo von Klenze had significant advantages because he on the one hand with the wishes of his client was very familiar and on the other hand also could examine the designs of its competitors in detail. Therefore, it is not surprising that the design of Klenze won the tender of the Hall of Fame in March 1834. He planned the Hall of Fame with a Doric portico in the background and a colossal statue in the foreground.
The construction of the Hall of Fame in the years 1843-1853 actually took place according to the planning of Klenze. After completion of the Hall of Fame, in 1853 the busts of 74 especially venerable Bavarians were set up, in 1868 another 10 were added. The bust of King Ludwig I was only in 1888 in the Hall of Fame erected to commemorate his 100th birthday and supplemented with the following inscription:
"To King Ludwig I to celebrate his 100th birthday, the grateful Munich."
The Hall of Fame itself is 68 meters long, 32 meters wide and stands on a 4.3 meter high pedestal. The roof is supported by the back wall and 48 Doric columns that have a height of about 7 meters and a diameter of 1.25 meters.
Since the Hall of Fame and the in it set up busts in 1944 during an air raid in WW2 were severely damaged, it was not until 1966 when the Bavarian Council of Ministers decided the reconstruction of the Hall of Fame and the continuation of honouring of Bavarian personalities by setting up of their busts. The renovation was completed in 1972 and the Hall of Fame on 26 October 1972 with the preserved and renovated busts could be reopened.
For the selection of the personalities the Bavarian Council of Ministers is responsible, which is advised by a committee of experts from the Bavarian Ministry of Culture, the Bavarian Academy of Fine Arts, the Bavarian Academy of Sciences, the Bavarian Palace Department, the House of Bavarian History, the Bavarian Ministry of Finance and the LMU (Ludwig Maximilian University).
Bavaria © 2009 Bavaria
The colossal statue of Bavaria forms an artistic unity with the Hall of Fame in the background. The first sketches of Bavaria von Klenze already in his design of the whole ensemble on the model of ancient colossal statues of antiquity had produced. It was modeled after the Colossus of Rhodes, the statue of Zeus of Phidias and especially the Athena Parthenos. Theoretically, it is even possible that a part of the bronze for the Bavaria was once part of the Colossus of Rhodes. After Klenze was awarded the contract for the construction of the ensemble consisting of Hall of Fame and Bavaria, he made more sketches on the Greek model.
Since the statue should be cast according to both of Klenze`s ideas and Ludwig`s wishes in bronze, he included the sculptor Ludwig Schwanthaler, the ore caster Johann Baptist Stiglmaier as well as whose nephew Ferdinand von Miller in the further design and manufacture of the Bavaria statue. While Schwanthaler with his first sketches still held to the classical model in the sense of Klenze, he gave the statue in the further course of his designs increasingly a "Germanic" appearance with typical "German" character. The head and the raised hand he adorned with a wreath of oak and at her side appeared the drawn sword as a sign of her ability to defend herself. At her feet placed Schwanthaler a lion, that always have served as heraldic animal of the Wittelsbach.
The manufacturing of the final designs for the Bavaria statue followed in the years 1839 to 1843. Schwanthaler however the beginning of the foundry did not live because he shortly before that died in April 1844. As first thing, the head of Bavaria was cast in September 1844, in January and March 1845 followed the arms, on 11 October 1845, the breast piece. The last major casting for the bottom part took place on 1 December 1849. The erection and unveiling of Bavaria occurred during Oktoberfest (Munich Beer Festival) 1850. The cost for the production of the statue Ludwig after his abdication as king of Bavaria on 20 March 1848 largely paid from private sources. A special feature of Bavaria is the spiral staircase in its interior, where you can climb up into her head to enjoy from there an incomparable view of the Oktoberfest.
bavarianspaces.de/veranstaltungen/oktoberfest/ruhmeshalle code ...
The Postcard
A carte postale that was published by LS. The card was printed by Laffineur, Imprimeur of Amiens.
The card was posted via the British Army postal service during the Great War. A soldier has used a pencil to write on the divided back:
"11.2.18.
Another for the
collection Darling.
All my love,
Yours Bert".
Bert has ineffectually tried to censor the name of the cathedral, although the building is instantly recognisable.
The British Army Postal Service
During the Great War, the British Army Postal Service despatched over two billion letters and cards. Assuming an average length of 6 inches, if they were laid end to end they would stretch for 189,394 miles (304,800km) - that's over seven and a half times round the Earth's equator.
The Great War lasted for 1,567 days, therefore the Postal Service were kept busy handling an average of over 1¼ million pieces of mail every day of the war's duration.
Amiens
Amiens is the chief city of Picardy, in the valley of the River Somme, and is just over 100 km north of Paris.
The Cathedral
The Gothic Cathedral of our Lady of Amiens is the tallest complete cathedral in France, with the greatest interior volume (estimated at 200,000 cubic metres).
According to this estimate, the cathedral could comfortably accommodate well over sixty billion marbles. (Yes, billion, not million!) This number of marbles, laid end to end, would produce a line 900,000 km long - it would encircle the earth 22 times, or stretch to the moon and back nearly two and a half times. It's a big building!
The vaults of the nave are 42.3 metres high. The size of the people in the photograph at the base of the entrance steps give an idea of the sheer scale of the building.
Work on the cathedral started in 1220 and was mostly finished by 1266. The floors include a number of designs, including a swastika. The labyrinth was installed in 1288.
John The Baptist
The cathedral contains what is alleged to be the head of St. John the Baptist, a relic brought back from Constantinople. You can find out what happened to one of his fingers by searching for the tag 65SJD88. There are bits of him all over the place! In fact the Great Mosque in Damascus also claims to hold the head of John the Baptist.
The West Front
The west front of the cathedral, which is shown in the photograph, was built between 1220 and 1236. It shows an unusual degree of artistic unity. Its lower tier with 3 vast deep porches is capped with a gallery of larger than lifesize kings which stretches across the entire façade beneath the rose window.
The Rose Window
The immense rose window has a diameter of 43 feet (13 m).
Above the rose window is an open arcade - the Galerie des Sonneurs. A sonneur is a player of traditional music, primarily in Brittany, typically playing a clarinet or the Breton bagpipe.
John Buchan
In the 1919 book Mr. Standfast by John Buchan (1875-1940), the character Richard Hannay describes the cathedral as being:
"The noblest church that the
hand of man ever built for God".
Anne Ingstad
So what else happened on the day that Bert wrote the card?
Well, the 11th. February 1918 marked the birth of Anne Stine Ingstad. Anne was a Norwegian archaeologist who, along with explorer Helge Ingstad (her husband), discovered the remains of a Viking (Norse) settlement at L'Anse aux Meadows in the Canadian province of Newfoundland and Labrador in 1960.
Anne Ingstad - The Early Years
Anne Stine Moe was born and raised in Lillehammer, Norway. Her parents were attorney Eilif Moe (1889–1954) and Louise Augusta Bauck Lindeman (1886–1966). She married Helge Ingstad in 1941, after which she became his scientific collaborator.
The Excavation of an Early Norse Settlement
Anne studied archaeology at the University of Oslo in the 1950's. In 1960, her husband discovered settlement traces at L'Anse aux Meadows on the island of Newfoundland.
Between 1961 and 1968, Anne Stine Ingstad led an excavation of the settlement with an international team of archaeologists from Sweden, Iceland, Canada, U.S. and Norway.
The excavation revealed the remains of an early 11th century Norse settlement. These remains included sod houses, a forge, cooking pits and boathouses. The settlement is now a UNESCO World Heritage Site and a National Historic Site of Canada.
Anne Ingstad - The Later Years
In the 1970's, Anne worked on the textiles from the Kaupang and Oseberg excavation sites.
Honours
In 1969, Anne Stine Ingstad was awarded an Honorary Doctorate by the Memorial University of Newfoundland. In 1992, she was also awarded an Honorary Doctorate at the University of Bergen.
She was a Commander of the Order of St. Olav, and was made a member of the Norwegian Academy of Science. She appeared with her husband in the 1984 National Film Board of Canada documentary The Vinland Mystery.
Death of Anne Ingstad
Anne Stine Ingstad died on the 6th. November 1997 at the age of 79, leaving behind her 98-year-old husband Helge and their daughter Benedicte Ingstad, a professor of medical anthropology at the University of Oslo.
Bibliography
Ingstad, Anne Stine (2001): 'The Viking Discovery of America: The Excavation of a Norse Settlement in L'Anse Aux Meadows, Newfoundland'.
The Lighting of the Main Reading Room
The soffits of the arches upholding the dome are ornamented with a row of plane coffers; the larger arches that roof the alcoves within carry a triple row of more elaborate coffers, each with a gilt rosette. The windows of stained-glass, already spoken of as enclosed by these arches, semicircular inform and measure thirty-two feet across at the base. They furnished the greater part of the light needed for the illumination of the room. No shadows are cast in any direction. Being so high above the floor, the light from them is much more effective than if they were nearer the level of the reader’s eye. They are better even than skylights, and with none of the disadvantages of skylights. Other sources of light are the various little windows pierced in the four walls of the octagon which face the interior courts; and, above, the eight windows of the lantern. It has been said that no reading room and the world is so well lighted—so steadily, abundantly, uniformly, whether on the brightest or the darkest day. Edwin Howland Blashfield’s paintings in the dome, for example, can hardly be said to receive direct light from a single window in the room, but for all that, so perfectly slight diffused, they are as easily made out as any decorations in the building.
The Semicircular Windows
It is calculated that, but putting stained-glass in the eight semicircular Windows, the amount of light admitted has been diminished almost exactly one eighth; in other words, the result is the same as if one of the eight had been quite closed.
The cartoons for the stained-glass were made by Herman T. Schladermundt, after designs prepared by the architect, Edward Pearce Casey. The ground is a crackled white, leaded throughout into small, square panes. To give an effective boldness and strength, the windows are divided vertically by heavy iron bars. The design is surrounded by a richly colored border of laurel, combined with rosettes and Roman fasces. At the top, in the middle of each window, is the great seal of the United States, four feet high, surmounted by the American Eagle, whose outstretched wings measure eight feet from tip to tip. To the right and left, following the curve of the window, are the seals of the states and territories, three on the side, or six in each window, so that forty-eight—excluding only Alaska and the Indian Territory (Alaska became a state in 1959, and the Indian Territory, along with the territory of Oklahoma, became the state of Oklahoma in 1907)—are contained in the eight windows. Torches alternate with the seals, and the fasces are introduced at the bottom.
The name of the state or territory is inscribed above each seal, with the date of the year in which it was admitted to the union or organized under a territorial form of government. The seals occur in the order of their dates, the series beginning with the 13 original states—which started the easterly window in the order in which they signed the Constitution—and continuing around the room to three territories of New Mexico, Arizona, and Oklahoma. (They did not achieve statehood until 1912, 1912, and 1907, respectively.) Taken all in all, they form one of the most interesting decorations in the library, since the artist has succeeded in making a harmonious whole out of a very heterogeneous collection of designs. The originals, of course, were separately drawn, often by persons unacquainted with heraldry and never with any thought of fitting them into a single series like the present one. The result is that these originals show the greatest diversity of treatment. The key, so to speak, is continually changing. Sometimes, for example, a figure introduced in the foreground the store by an altogether disproportionate background, while in other cases the figure overpowers everything else. Had they been copied exactly, any heraldic or artistic unity of effect would be entirely lacking. Accordingly, after getting together a complete collection of the seals—in every instance in authentic impression of the original obtained from the state secretary—Schladermundt redrew, and often almost redesigned, is material to bring it into accordance with his decorative scheme. In many cases, particularly in the seals 13 original states, the original has hardly been changed at all. Indeed, in the seal of the state of Washington, which consists merely of a portrait of Washington himself, Schladermundt has unobtrusively added the Washington arms in the upper corner of the design in order to suggest the desirable heraldic conventionality more fully; occasionally, too, it has been necessary to omit certain minor details as being unsuited to the breadth of treatment necessary and stained-glass, but as a rule, Schladermundt has followed very carefully the specifications contained in the authoritative legislative enactments.
Hall of Fame and Bavaria at the Theresienwiese
The Hall of Fame and Bavaria form the most famous landmarks on the edge of the Theresienwiese and are well worth a visit.
The Hall of Fame and Bavaria form on the Theresien height an ensemble in style of the ancient Acropolis in Athens, which was commissioned by King Ludwig I there. Together with his architect Leo von Klenze King Ludwig I shaped the cityscape of Munich like no other. He was a friend of the monasteries and the academic spirit, and he turned his attention to painting and poetry.
As crown prince Ludwig after the death of his father in 1825 took over the throne of Bavaria he was already dreaming of his "Athens on the Isar" with monumental squares and buildings. Whereas his childhood and youth was influenced by the French Revolution and the subsequent Napoleonic wars, as crown prince he longed for a "Bavarian of all tribes" and a "bigger German nation." In this phase, Ludwig was planning a patriotic monument in the capital city of Munich and for this purpose he already in 1809 by historian Lorenz Westenrieder he had made a list of famous Bavarian representatives of all classes and professions. Approximately 20 years later this list was on his behalf by his Interior Minister Eduard von Schenk - in the meantime Ludwig was King of Bavaria - renewed and expanded.
For the tender for a Hall of Fame above the Theresienwiese with space for 200 busts King Ludwig I invited the best and most prestigious builders of those times:
Friedrich von Gärtner,
Leo von Klenze,
Joseph Daniel Ohlmüller and
Georg Friedrich Ziebland.
Hall of Fame after the scetch of Leo von Klenze
Design by Leo von Klenze
As the court master builder of that time of the king, Leo von Klenze had significant advantages because he on the one hand with the wishes of his client was very familiar and on the other hand also could examine the designs of its competitors in detail. Therefore, it is not surprising that the design of Klenze won the tender of the Hall of Fame in March 1834. He planned the Hall of Fame with a Doric portico in the background and a colossal statue in the foreground.
The construction of the Hall of Fame in the years 1843-1853 actually took place according to the planning of Klenze. After completion of the Hall of Fame, in 1853 the busts of 74 especially venerable Bavarians were set up, in 1868 another 10 were added. The bust of King Ludwig I was only in 1888 in the Hall of Fame erected to commemorate his 100th birthday and supplemented with the following inscription:
"To King Ludwig I to celebrate his 100th birthday, the grateful Munich."
The Hall of Fame itself is 68 meters long, 32 meters wide and stands on a 4.3 meter high pedestal. The roof is supported by the back wall and 48 Doric columns that have a height of about 7 meters and a diameter of 1.25 meters.
Since the Hall of Fame and the in it set up busts in 1944 during an air raid in WW2 were severely damaged, it was not until 1966 when the Bavarian Council of Ministers decided the reconstruction of the Hall of Fame and the continuation of honouring of Bavarian personalities by setting up of their busts. The renovation was completed in 1972 and the Hall of Fame on 26 October 1972 with the preserved and renovated busts could be reopened.
For the selection of the personalities the Bavarian Council of Ministers is responsible, which is advised by a committee of experts from the Bavarian Ministry of Culture, the Bavarian Academy of Fine Arts, the Bavarian Academy of Sciences, the Bavarian Palace Department, the House of Bavarian History, the Bavarian Ministry of Finance and the LMU (Ludwig Maximilian University).
Bavaria © 2009 Bavaria
The colossal statue of Bavaria forms an artistic unity with the Hall of Fame in the background. The first sketches of Bavaria von Klenze already in his design of the whole ensemble on the model of ancient colossal statues of antiquity had produced. It was modeled after the Colossus of Rhodes, the statue of Zeus of Phidias and especially the Athena Parthenos. Theoretically, it is even possible that a part of the bronze for the Bavaria was once part of the Colossus of Rhodes. After Klenze was awarded the contract for the construction of the ensemble consisting of Hall of Fame and Bavaria, he made more sketches on the Greek model.
Since the statue should be cast according to both of Klenze`s ideas and Ludwig`s wishes in bronze, he included the sculptor Ludwig Schwanthaler, the ore caster Johann Baptist Stiglmaier as well as whose nephew Ferdinand von Miller in the further design and manufacture of the Bavaria statue. While Schwanthaler with his first sketches still held to the classical model in the sense of Klenze, he gave the statue in the further course of his designs increasingly a "Germanic" appearance with typical "German" character. The head and the raised hand he adorned with a wreath of oak and at her side appeared the drawn sword as a sign of her ability to defend herself. At her feet placed Schwanthaler a lion, that always have served as heraldic animal of the Wittelsbach.
The manufacturing of the final designs for the Bavaria statue followed in the years 1839 to 1843. Schwanthaler however the beginning of the foundry did not live because he shortly before that died in April 1844. As first thing, the head of Bavaria was cast in September 1844, in January and March 1845 followed the arms, on 11 October 1845, the breast piece. The last major casting for the bottom part took place on 1 December 1849. The erection and unveiling of Bavaria occurred during Oktoberfest (Munich Beer Festival) 1850. The cost for the production of the statue Ludwig after his abdication as king of Bavaria on 20 March 1848 largely paid from private sources. A special feature of Bavaria is the spiral staircase in its interior, where you can climb up into her head to enjoy from there an incomparable view of the Oktoberfest.
bavarianspaces.de/veranstaltungen/oktoberfest/ruhmeshalle code ...
Hall of Fame and Bavaria at the Theresienwiese
The Hall of Fame and Bavaria form the most famous landmarks on the edge of the Theresienwiese and are well worth a visit.
The Hall of Fame and Bavaria form on the Theresien height an ensemble in style of the ancient Acropolis in Athens, which was commissioned by King Ludwig I there. Together with his architect Leo von Klenze King Ludwig I shaped the cityscape of Munich like no other. He was a friend of the monasteries and the academic spirit, and he turned his attention to painting and poetry.
As crown prince Ludwig after the death of his father in 1825 took over the throne of Bavaria he was already dreaming of his "Athens on the Isar" with monumental squares and buildings. Whereas his childhood and youth was influenced by the French Revolution and the subsequent Napoleonic wars, as crown prince he longed for a "Bavarian of all tribes" and a "bigger German nation." In this phase, Ludwig was planning a patriotic monument in the capital city of Munich and for this purpose he already in 1809 by historian Lorenz Westenrieder he had made a list of famous Bavarian representatives of all classes and professions. Approximately 20 years later this list was on his behalf by his Interior Minister Eduard von Schenk - in the meantime Ludwig was King of Bavaria - renewed and expanded.
For the tender for a Hall of Fame above the Theresienwiese with space for 200 busts King Ludwig I invited the best and most prestigious builders of those times:
Friedrich von Gärtner,
Leo von Klenze,
Joseph Daniel Ohlmüller and
Georg Friedrich Ziebland.
Hall of Fame after the scetch of Leo von Klenze
Design by Leo von Klenze
As the court master builder of that time of the king, Leo von Klenze had significant advantages because he on the one hand with the wishes of his client was very familiar and on the other hand also could examine the designs of its competitors in detail. Therefore, it is not surprising that the design of Klenze won the tender of the Hall of Fame in March 1834. He planned the Hall of Fame with a Doric portico in the background and a colossal statue in the foreground.
The construction of the Hall of Fame in the years 1843-1853 actually took place according to the planning of Klenze. After completion of the Hall of Fame, in 1853 the busts of 74 especially venerable Bavarians were set up, in 1868 another 10 were added. The bust of King Ludwig I was only in 1888 in the Hall of Fame erected to commemorate his 100th birthday and supplemented with the following inscription:
"To King Ludwig I to celebrate his 100th birthday, the grateful Munich."
The Hall of Fame itself is 68 meters long, 32 meters wide and stands on a 4.3 meter high pedestal. The roof is supported by the back wall and 48 Doric columns that have a height of about 7 meters and a diameter of 1.25 meters.
Since the Hall of Fame and the in it set up busts in 1944 during an air raid in WW2 were severely damaged, it was not until 1966 when the Bavarian Council of Ministers decided the reconstruction of the Hall of Fame and the continuation of honouring of Bavarian personalities by setting up of their busts. The renovation was completed in 1972 and the Hall of Fame on 26 October 1972 with the preserved and renovated busts could be reopened.
For the selection of the personalities the Bavarian Council of Ministers is responsible, which is advised by a committee of experts from the Bavarian Ministry of Culture, the Bavarian Academy of Fine Arts, the Bavarian Academy of Sciences, the Bavarian Palace Department, the House of Bavarian History, the Bavarian Ministry of Finance and the LMU (Ludwig Maximilian University).
Bavaria © 2009 Bavaria
The colossal statue of Bavaria forms an artistic unity with the Hall of Fame in the background. The first sketches of Bavaria von Klenze already in his design of the whole ensemble on the model of ancient colossal statues of antiquity had produced. It was modeled after the Colossus of Rhodes, the statue of Zeus of Phidias and especially the Athena Parthenos. Theoretically, it is even possible that a part of the bronze for the Bavaria was once part of the Colossus of Rhodes. After Klenze was awarded the contract for the construction of the ensemble consisting of Hall of Fame and Bavaria, he made more sketches on the Greek model.
Since the statue should be cast according to both of Klenze`s ideas and Ludwig`s wishes in bronze, he included the sculptor Ludwig Schwanthaler, the ore caster Johann Baptist Stiglmaier as well as whose nephew Ferdinand von Miller in the further design and manufacture of the Bavaria statue. While Schwanthaler with his first sketches still held to the classical model in the sense of Klenze, he gave the statue in the further course of his designs increasingly a "Germanic" appearance with typical "German" character. The head and the raised hand he adorned with a wreath of oak and at her side appeared the drawn sword as a sign of her ability to defend herself. At her feet placed Schwanthaler a lion, that always have served as heraldic animal of the Wittelsbach.
The manufacturing of the final designs for the Bavaria statue followed in the years 1839 to 1843. Schwanthaler however the beginning of the foundry did not live because he shortly before that died in April 1844. As first thing, the head of Bavaria was cast in September 1844, in January and March 1845 followed the arms, on 11 October 1845, the breast piece. The last major casting for the bottom part took place on 1 December 1849. The erection and unveiling of Bavaria occurred during Oktoberfest (Munich Beer Festival) 1850. The cost for the production of the statue Ludwig after his abdication as king of Bavaria on 20 March 1848 largely paid from private sources. A special feature of Bavaria is the spiral staircase in its interior, where you can climb up into her head to enjoy from there an incomparable view of the Oktoberfest.
bavarianspaces.de/veranstaltungen/oktoberfest/ruhmeshalle code ...
Bamoun - Cameroon grasslands origin
Royal mask. Cameroon the savannas of the west, the Grassland, are composed of three ethnic groups with ancestors in common. The Grassland is divided into 90 small independent kingdoms and chiefdoms, whose powers are counterbalanced by male and female societies. These kingdoms, chiefdoms, and independent villages, while largely autonomous, display considerable political, religious, and artistic unity, including complementary architecture, regalia, sculpture, and masks. This mask is carved from a single piece of wood; it represents a human head surrounded with images of lizards. This mask would not have been worn by the king but would have been carried by one of his servants. Along with the other masks and equipment for political, administrative, legal or dramatic ceremonial, it would have been kept in a special area inside the royal enclosure.
Recent - ~ 25 yrs old.. Overall length ~ 2.0 feet.
The Postcard
A carte postale bearing no publisher's name that was posted in Amiens-Gare on Sunday the 5th. June 1927. It was posted to a recipient who lived at:
Coombe Farm,
Frilsham,
Yattendon,
Berks.,
Angleterre.
The pencilled message on the divided back of the card was as follows:
"5/6/27.
Dear Auntie,
Here we are again on
another short stay.
We came last Friday
until next Tuesday.
Hope all are well.
It seems ages since
we met. Perhaps a
weekend soon.
Love to all,
Betty".
Amiens Cathedral
The Gothic Cathedral of our Lady of Amiens is the tallest complete cathedral in France, with the greatest interior volume (estimated at 200,000 cubic metres).
According to this estimate, the cathedral could comfortably accommodate well over sixty billion marbles. (Yes, billion, not million!) This number of marbles, laid end to end, would produce a line 900,000 km long - it would encircle the earth 22 times, or stretch to the moon and back nearly two and a half times. It's a big building!
The vaults of the nave are 42.3 metres high, and the curved central entrance arch is over 50 feet (15.24 m) high.
Work on the cathedral started in 1220 and was mostly finished by 1266. The floors include a number of designs, including a swastika. The labyrinth was installed in 1288.
The cathedral contains what is alleged to be the head of St. John the Baptist, a relic brought back from Constantinople.
You can find out what happened to one of his fingers by searching for the tag 65SJD88. There are bits of him all over the place! In fact the Great Mosque in Damascus also claims to hold the head of John the Baptist.
The west front of the cathedral was built between 1220 and 1236. It shows an unusual degree of artistic unity. Its lower tier with 3 vast deep porches is capped with a gallery of larger than life-size kings which stretches across the entire façade beneath the rose window.
The immense rose window has a diameter of 43 feet (13 m).
Above the rose window is an open arcade - the Galerie des Sonneurs. A sonneur is a player of traditional music, primarily in Brittany, typically playing a clarinet or the Breton bagpipe.
In the 1919 book Mr. Standfast by John Buchan (1875-1940), the character Richard Hannay describes the cathedral as being:
"The noblest church that the
hand of man ever built for God".
L'Ange Pleureur
The weeping angel is a 17th. century sculpture on a tomb in the ambulatory of the Cathedral, directly behind the altar. It was created by Nicholas Blasset in 1628.
Postcards of the angel were popular amongst troops in the Great War.
The weeping angel became a mascot for the British soldiers, and later it came to represent the huge loss and futility of the battles that raged over the Somme countryside not far from the magnificent cathedral.
Sydney Meshkov
So what else happened on the day that the card was posted?
Well, the 5th. June 1927 marked the birth in Philadelphia, Pa. of Sydney Meshkov. Sydney was a theoretical physicist who worked in gravitational wave, atomic, nuclear and particle physics.
Sydney Meshkov's Academic Career
Meshkov received his undergraduate A.B. degree in physics (1947) and his Ph.D. in physics (1954) from the University of Pennsylvania, as well as an M.S. (1949) from the University of Illinois.
Sydney held positions at many institutions, most notably at the National Bureau of Standards (NBS, now known as NIST) and at Caltech, where he was Visiting Professor of Theoretical Physics in the 1970's and 1980's. Sydney also spent four years at the Superconducting Super Collider (1990 - 1994).
Meshkov was one of the original organizers of a series of conferences on physics (the "Coral Gables Conferences"), taking place at or near the University of Miami, which began in 1964 and continue to the present.
He also played an important role in the development of the Aspen Center for Physics (1968–2020) as Secretary and Trustee.
The Death of Sydney Meshkov
Sydney continued as a chair of the Gravitational Wave Advanced Detector Workshop series of conferences until his death.
Sydney died in Pasadena, Ca. at the age of 93 on the 31st. August 2020.
The Postcard
A carte postale published by Neurdein et Cie of Paris.
It was posted to:
Miss B. Warwick,
50, Cliff Terrace,
Carlisle,
England.
The message on the back of the card was as follows:
"On Active Service.
30.6.18
Having a gay time though
we have been a trifle busy.
How do you like work?
Billy sends his best wishes.
Love to all,
S."
Amiens
Amiens is the chief city of Picardy, in the valley of the River Somme, and is just over 100 km north of Paris.
Amiens Cathedral
The Gothic Cathedral of our Lady of Amiens is the tallest complete cathedral in France, with the greatest interior volume (estimated at 200,000 cubic metres).
According to this estimate, the cathedral could comfortably accommodate well over sixty billion marbles. (Yes, billion, not million!) This number of marbles, laid end to end, would produce a line 900,000km long - it would encircle the earth 22 times, or stretch to the moon and back nearly two and a half times. It's a big building!
The vaults of the nave are 42.3 metres high.
Work on the cathedral started in 1220 and was mostly finished by 1266. The floors include a number of designs, including a swastika. The labyrinth was installed in 1288.
The cathedral contains what is alleged to be the head of St. John the Baptist, a relic brought back from Constantinople. You can find out what happened to one of his fingers by searching for the tag 65SJD88. There are bits of him all over the place! In fact the Great Mosque in Damascus also claims to hold the head of John the Baptist.
The west front of the cathedral, which is shown in the photograph, was built between 1220 and 1236. It shows an unusual degree of artistic unity. Its lower tier with 3 vast deep porches is capped with a gallery of larger than lifesize kings which stretches across the entire façade beneath the rose window.
The immense rose window has a diameter of 43 feet (13m).
Above the rose window is an open arcade - the Galerie des Sonneurs. A sonneur is a player of traditional music, primarily in Brittany, typically playing a clarinet or the Breton bagpipe.
In the 1919 book Mr. Standfast by John Buchan (1875-1940), the character Richard Hannay describes the cathedral as being:
"The noblest church that the
hand of man ever built for God".
Lady Isobel Barnett
So what else happened on the day that the card was written?
Well, on Sunday the 30th. June 1918, Isobel Morag Marshall was born. After her marriage she became known as Lady Isobel Barnett. Isobel was a Scottish radio and television personality, who had her highest profile during the 1950's and 1960's.
Isobel Barnett - The Early Years
Barnett was born in Aberdeen, the daughter of a doctor. She went to the independent Mount School in York and, following in her father's footsteps, studied medicine at the University of Glasgow.
Isobel qualified as a doctor in 1940, and married solicitor and company director Geoffrey Barnett the following year. He was knighted for political and public services to the city of Leicester in 1953. Lady Barnett gave up her medical career in 1948, and for the next 20 years was a Justice of the peace.
Radio and Television
In 1953 Isobel arrived on BBC television as one of the panel of 'What's My Line?', which made her a household name. She appeared on the programme for ten years, but was not an original panellist, her seat having been previously occupied by Marghanita Laski.
Isobel was regarded by audiences as elegant and witty, the epitome of the British aristocracy, although her title actually came from the fact that her solicitor husband had been knighted; she was not an aristocrat, nor had she married into the aristocracy.
Isobel also made regular appearances on the BBC radio series 'Any Questions', on the radio panel game 'Many a Slip', and on the women's discussion series 'Petticoat Line'. She was greatly in demand as an after-dinner speaker, a role into which she slipped confidently.
In 1956, a reviewer predicted that an alien visiting from another planet could ask anyone between the ages of seven and 70 "What is What's my Line?" and "Who is Isobel Barnett?" and be confident of getting an answer.
Later Life and Death of Lady Isobel Barnett
In her last years, Barnett became reclusive and eccentric. In 1980 she was found guilty of shoplifting, and fined £75 for stealing a can of tuna and a carton of cream worth 87 pence from her village grocer.
This brought her briefly back into the public eye; four days later, on the evening of Sunday the 20th. October 1980, she was found dead at her home in Cossington, Leicestershire.
Isobel was found dead in the bath, into which she had thrown an electric heater, causing ventricular fibrillation and a heart attack. The local doctor gave the cause of death unusually as uremia. Her body was cremated in haste before a full post-mortem could be carried out, and the whole affair was hushed up as far as was possible.
During the inquest, police testified that Isobel wore an extra spacious pocket, known as a poacher's pocket, sewn inside her coat when she was caught stealing the groceries. Two days before her death, Barnett told an interviewer she was a compulsive thief, and had been shoplifting for years.
Finding that Barnett, a trained physician, killed herself deliberately with an overdose of arthritis painkiller, coroner Guy Tooze said:
"She had recently suffered one
of the most traumatic experiences
any woman could suffer.
I am satisfied she took a fatal
overdose deliberately, and knew
what she was doing".
A Daily Mail columnist commented:
“I am sorry for the generation of
women among whom Lady Barnett
finds herself.
Often their lives, without a career
and with children gone away from
home, go racing downhill into sheer
grinding boredom.”
There still seems to be some confusion to this day over whether Isobel's suicide resulted from a drug overdose, electrocution or uremia.
✰ This photo was featured on The Epic Global Showcase here: bit.ly/1X4Nugo
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Hall of Fame and Bavaria at the Theresienwiese
The Hall of Fame and Bavaria form the most famous landmarks on the edge of the Theresienwiese and are well worth a visit.
The Hall of Fame and Bavaria form on the Theresien height an ensemble in style of the ancient Acropolis in Athens, which was commissioned by King Ludwig I there. Together with his architect Leo von Klenze King Ludwig I shaped the cityscape of Munich like no other. He was a friend of the monasteries and the academic spirit, and he turned his attention to painting and poetry.
As crown prince Ludwig after the death of his father in 1825 took over the throne of Bavaria he was already dreaming of his "Athens on the Isar" with monumental squares and buildings. Whereas his childhood and youth was influenced by the French Revolution and the subsequent Napoleonic wars, as crown prince he longed for a "Bavarian of all tribes" and a "bigger German nation." In this phase, Ludwig was planning a patriotic monument in the capital city of Munich and for this purpose he already in 1809 by historian Lorenz Westenrieder he had made a list of famous Bavarian representatives of all classes and professions. Approximately 20 years later this list was on his behalf by his Interior Minister Eduard von Schenk - in the meantime Ludwig was King of Bavaria - renewed and expanded.
For the tender for a Hall of Fame above the Theresienwiese with space for 200 busts King Ludwig I invited the best and most prestigious builders of those times:
Friedrich von Gärtner,
Leo von Klenze,
Joseph Daniel Ohlmüller and
Georg Friedrich Ziebland.
Hall of Fame after the scetch of Leo von Klenze
Design by Leo von Klenze
As the court master builder of that time of the king, Leo von Klenze had significant advantages because he on the one hand with the wishes of his client was very familiar and on the other hand also could examine the designs of its competitors in detail. Therefore, it is not surprising that the design of Klenze won the tender of the Hall of Fame in March 1834. He planned the Hall of Fame with a Doric portico in the background and a colossal statue in the foreground.
The construction of the Hall of Fame in the years 1843-1853 actually took place according to the planning of Klenze. After completion of the Hall of Fame, in 1853 the busts of 74 especially venerable Bavarians were set up, in 1868 another 10 were added. The bust of King Ludwig I was only in 1888 in the Hall of Fame erected to commemorate his 100th birthday and supplemented with the following inscription:
"To King Ludwig I to celebrate his 100th birthday, the grateful Munich."
The Hall of Fame itself is 68 meters long, 32 meters wide and stands on a 4.3 meter high pedestal. The roof is supported by the back wall and 48 Doric columns that have a height of about 7 meters and a diameter of 1.25 meters.
Since the Hall of Fame and the in it set up busts in 1944 during an air raid in WW2 were severely damaged, it was not until 1966 when the Bavarian Council of Ministers decided the reconstruction of the Hall of Fame and the continuation of honouring of Bavarian personalities by setting up of their busts. The renovation was completed in 1972 and the Hall of Fame on 26 October 1972 with the preserved and renovated busts could be reopened.
For the selection of the personalities the Bavarian Council of Ministers is responsible, which is advised by a committee of experts from the Bavarian Ministry of Culture, the Bavarian Academy of Fine Arts, the Bavarian Academy of Sciences, the Bavarian Palace Department, the House of Bavarian History, the Bavarian Ministry of Finance and the LMU (Ludwig Maximilian University).
Bavaria © 2009 Bavaria
The colossal statue of Bavaria forms an artistic unity with the Hall of Fame in the background. The first sketches of Bavaria von Klenze already in his design of the whole ensemble on the model of ancient colossal statues of antiquity had produced. It was modeled after the Colossus of Rhodes, the statue of Zeus of Phidias and especially the Athena Parthenos. Theoretically, it is even possible that a part of the bronze for the Bavaria was once part of the Colossus of Rhodes. After Klenze was awarded the contract for the construction of the ensemble consisting of Hall of Fame and Bavaria, he made more sketches on the Greek model.
Since the statue should be cast according to both of Klenze`s ideas and Ludwig`s wishes in bronze, he included the sculptor Ludwig Schwanthaler, the ore caster Johann Baptist Stiglmaier as well as whose nephew Ferdinand von Miller in the further design and manufacture of the Bavaria statue. While Schwanthaler with his first sketches still held to the classical model in the sense of Klenze, he gave the statue in the further course of his designs increasingly a "Germanic" appearance with typical "German" character. The head and the raised hand he adorned with a wreath of oak and at her side appeared the drawn sword as a sign of her ability to defend herself. At her feet placed Schwanthaler a lion, that always have served as heraldic animal of the Wittelsbach.
The manufacturing of the final designs for the Bavaria statue followed in the years 1839 to 1843. Schwanthaler however the beginning of the foundry did not live because he shortly before that died in April 1844. As first thing, the head of Bavaria was cast in September 1844, in January and March 1845 followed the arms, on 11 October 1845, the breast piece. The last major casting for the bottom part took place on 1 December 1849. The erection and unveiling of Bavaria occurred during Oktoberfest (Munich Beer Festival) 1850. The cost for the production of the statue Ludwig after his abdication as king of Bavaria on 20 March 1848 largely paid from private sources. A special feature of Bavaria is the spiral staircase in its interior, where you can climb up into her head to enjoy from there an incomparable view of the Oktoberfest.
bavarianspaces.de/veranstaltungen/oktoberfest/ruhmeshalle code ...
Hall of Fame and Bavaria at the Theresienwiese
The Hall of Fame and Bavaria form the most famous landmarks on the edge of the Theresienwiese and are well worth a visit.
The Hall of Fame and Bavaria form on the Theresien height an ensemble in style of the ancient Acropolis in Athens, which was commissioned by King Ludwig I there. Together with his architect Leo von Klenze King Ludwig I shaped the cityscape of Munich like no other. He was a friend of the monasteries and the academic spirit, and he turned his attention to painting and poetry.
As crown prince Ludwig after the death of his father in 1825 took over the throne of Bavaria he was already dreaming of his "Athens on the Isar" with monumental squares and buildings. Whereas his childhood and youth was influenced by the French Revolution and the subsequent Napoleonic wars, as crown prince he longed for a "Bavarian of all tribes" and a "bigger German nation." In this phase, Ludwig was planning a patriotic monument in the capital city of Munich and for this purpose he already in 1809 by historian Lorenz Westenrieder he had made a list of famous Bavarian representatives of all classes and professions. Approximately 20 years later this list was on his behalf by his Interior Minister Eduard von Schenk - in the meantime Ludwig was King of Bavaria - renewed and expanded.
For the tender for a Hall of Fame above the Theresienwiese with space for 200 busts King Ludwig I invited the best and most prestigious builders of those times:
Friedrich von Gärtner,
Leo von Klenze,
Joseph Daniel Ohlmüller and
Georg Friedrich Ziebland.
Hall of Fame after the scetch of Leo von Klenze
Design by Leo von Klenze
As the court master builder of that time of the king, Leo von Klenze had significant advantages because he on the one hand with the wishes of his client was very familiar and on the other hand also could examine the designs of its competitors in detail. Therefore, it is not surprising that the design of Klenze won the tender of the Hall of Fame in March 1834. He planned the Hall of Fame with a Doric portico in the background and a colossal statue in the foreground.
The construction of the Hall of Fame in the years 1843-1853 actually took place according to the planning of Klenze. After completion of the Hall of Fame, in 1853 the busts of 74 especially venerable Bavarians were set up, in 1868 another 10 were added. The bust of King Ludwig I was only in 1888 in the Hall of Fame erected to commemorate his 100th birthday and supplemented with the following inscription:
"To King Ludwig I to celebrate his 100th birthday, the grateful Munich."
The Hall of Fame itself is 68 meters long, 32 meters wide and stands on a 4.3 meter high pedestal. The roof is supported by the back wall and 48 Doric columns that have a height of about 7 meters and a diameter of 1.25 meters.
Since the Hall of Fame and the in it set up busts in 1944 during an air raid in WW2 were severely damaged, it was not until 1966 when the Bavarian Council of Ministers decided the reconstruction of the Hall of Fame and the continuation of honouring of Bavarian personalities by setting up of their busts. The renovation was completed in 1972 and the Hall of Fame on 26 October 1972 with the preserved and renovated busts could be reopened.
For the selection of the personalities the Bavarian Council of Ministers is responsible, which is advised by a committee of experts from the Bavarian Ministry of Culture, the Bavarian Academy of Fine Arts, the Bavarian Academy of Sciences, the Bavarian Palace Department, the House of Bavarian History, the Bavarian Ministry of Finance and the LMU (Ludwig Maximilian University).
Bavaria © 2009 Bavaria
The colossal statue of Bavaria forms an artistic unity with the Hall of Fame in the background. The first sketches of Bavaria von Klenze already in his design of the whole ensemble on the model of ancient colossal statues of antiquity had produced. It was modeled after the Colossus of Rhodes, the statue of Zeus of Phidias and especially the Athena Parthenos. Theoretically, it is even possible that a part of the bronze for the Bavaria was once part of the Colossus of Rhodes. After Klenze was awarded the contract for the construction of the ensemble consisting of Hall of Fame and Bavaria, he made more sketches on the Greek model.
Since the statue should be cast according to both of Klenze`s ideas and Ludwig`s wishes in bronze, he included the sculptor Ludwig Schwanthaler, the ore caster Johann Baptist Stiglmaier as well as whose nephew Ferdinand von Miller in the further design and manufacture of the Bavaria statue. While Schwanthaler with his first sketches still held to the classical model in the sense of Klenze, he gave the statue in the further course of his designs increasingly a "Germanic" appearance with typical "German" character. The head and the raised hand he adorned with a wreath of oak and at her side appeared the drawn sword as a sign of her ability to defend herself. At her feet placed Schwanthaler a lion, that always have served as heraldic animal of the Wittelsbach.
The manufacturing of the final designs for the Bavaria statue followed in the years 1839 to 1843. Schwanthaler however the beginning of the foundry did not live because he shortly before that died in April 1844. As first thing, the head of Bavaria was cast in September 1844, in January and March 1845 followed the arms, on 11 October 1845, the breast piece. The last major casting for the bottom part took place on 1 December 1849. The erection and unveiling of Bavaria occurred during Oktoberfest (Munich Beer Festival) 1850. The cost for the production of the statue Ludwig after his abdication as king of Bavaria on 20 March 1848 largely paid from private sources. A special feature of Bavaria is the spiral staircase in its interior, where you can climb up into her head to enjoy from there an incomparable view of the Oktoberfest.
bavarianspaces.de/veranstaltungen/oktoberfest/ruhmeshalle code ...
Hall of Fame and Bavaria at the Theresienwiese
The Hall of Fame and Bavaria form the most famous landmarks on the edge of the Theresienwiese and are well worth a visit.
The Hall of Fame and Bavaria form on the Theresien height an ensemble in style of the ancient Acropolis in Athens, which was commissioned by King Ludwig I there. Together with his architect Leo von Klenze King Ludwig I shaped the cityscape of Munich like no other. He was a friend of the monasteries and the academic spirit, and he turned his attention to painting and poetry.
As crown prince Ludwig after the death of his father in 1825 took over the throne of Bavaria he was already dreaming of his "Athens on the Isar" with monumental squares and buildings. Whereas his childhood and youth was influenced by the French Revolution and the subsequent Napoleonic wars, as crown prince he longed for a "Bavarian of all tribes" and a "bigger German nation." In this phase, Ludwig was planning a patriotic monument in the capital city of Munich and for this purpose he already in 1809 by historian Lorenz Westenrieder he had made a list of famous Bavarian representatives of all classes and professions. Approximately 20 years later this list was on his behalf by his Interior Minister Eduard von Schenk - in the meantime Ludwig was King of Bavaria - renewed and expanded.
For the tender for a Hall of Fame above the Theresienwiese with space for 200 busts King Ludwig I invited the best and most prestigious builders of those times:
Friedrich von Gärtner,
Leo von Klenze,
Joseph Daniel Ohlmüller and
Georg Friedrich Ziebland.
Hall of Fame after the scetch of Leo von Klenze
Design by Leo von Klenze
As the court master builder of that time of the king, Leo von Klenze had significant advantages because he on the one hand with the wishes of his client was very familiar and on the other hand also could examine the designs of its competitors in detail. Therefore, it is not surprising that the design of Klenze won the tender of the Hall of Fame in March 1834. He planned the Hall of Fame with a Doric portico in the background and a colossal statue in the foreground.
The construction of the Hall of Fame in the years 1843-1853 actually took place according to the planning of Klenze. After completion of the Hall of Fame, in 1853 the busts of 74 especially venerable Bavarians were set up, in 1868 another 10 were added. The bust of King Ludwig I was only in 1888 in the Hall of Fame erected to commemorate his 100th birthday and supplemented with the following inscription:
"To King Ludwig I to celebrate his 100th birthday, the grateful Munich."
The Hall of Fame itself is 68 meters long, 32 meters wide and stands on a 4.3 meter high pedestal. The roof is supported by the back wall and 48 Doric columns that have a height of about 7 meters and a diameter of 1.25 meters.
Since the Hall of Fame and the in it set up busts in 1944 during an air raid in WW2 were severely damaged, it was not until 1966 when the Bavarian Council of Ministers decided the reconstruction of the Hall of Fame and the continuation of honouring of Bavarian personalities by setting up of their busts. The renovation was completed in 1972 and the Hall of Fame on 26 October 1972 with the preserved and renovated busts could be reopened.
For the selection of the personalities the Bavarian Council of Ministers is responsible, which is advised by a committee of experts from the Bavarian Ministry of Culture, the Bavarian Academy of Fine Arts, the Bavarian Academy of Sciences, the Bavarian Palace Department, the House of Bavarian History, the Bavarian Ministry of Finance and the LMU (Ludwig Maximilian University).
Bavaria © 2009 Bavaria
The colossal statue of Bavaria forms an artistic unity with the Hall of Fame in the background. The first sketches of Bavaria von Klenze already in his design of the whole ensemble on the model of ancient colossal statues of antiquity had produced. It was modeled after the Colossus of Rhodes, the statue of Zeus of Phidias and especially the Athena Parthenos. Theoretically, it is even possible that a part of the bronze for the Bavaria was once part of the Colossus of Rhodes. After Klenze was awarded the contract for the construction of the ensemble consisting of Hall of Fame and Bavaria, he made more sketches on the Greek model.
Since the statue should be cast according to both of Klenze`s ideas and Ludwig`s wishes in bronze, he included the sculptor Ludwig Schwanthaler, the ore caster Johann Baptist Stiglmaier as well as whose nephew Ferdinand von Miller in the further design and manufacture of the Bavaria statue. While Schwanthaler with his first sketches still held to the classical model in the sense of Klenze, he gave the statue in the further course of his designs increasingly a "Germanic" appearance with typical "German" character. The head and the raised hand he adorned with a wreath of oak and at her side appeared the drawn sword as a sign of her ability to defend herself. At her feet placed Schwanthaler a lion, that always have served as heraldic animal of the Wittelsbach.
The manufacturing of the final designs for the Bavaria statue followed in the years 1839 to 1843. Schwanthaler however the beginning of the foundry did not live because he shortly before that died in April 1844. As first thing, the head of Bavaria was cast in September 1844, in January and March 1845 followed the arms, on 11 October 1845, the breast piece. The last major casting for the bottom part took place on 1 December 1849. The erection and unveiling of Bavaria occurred during Oktoberfest (Munich Beer Festival) 1850. The cost for the production of the statue Ludwig after his abdication as king of Bavaria on 20 March 1848 largely paid from private sources. A special feature of Bavaria is the spiral staircase in its interior, where you can climb up into her head to enjoy from there an incomparable view of the Oktoberfest.
bavarianspaces.de/veranstaltungen/oktoberfest/ruhmeshalle code ...
Hall of Fame and Bavaria at the Theresienwiese
The Hall of Fame and Bavaria form the most famous landmarks on the edge of the Theresienwiese and are well worth a visit.
The Hall of Fame and Bavaria form on the Theresien height an ensemble in style of the ancient Acropolis in Athens, which was commissioned by King Ludwig I there. Together with his architect Leo von Klenze King Ludwig I shaped the cityscape of Munich like no other. He was a friend of the monasteries and the academic spirit, and he turned his attention to painting and poetry.
As crown prince Ludwig after the death of his father in 1825 took over the throne of Bavaria he was already dreaming of his "Athens on the Isar" with monumental squares and buildings. Whereas his childhood and youth was influenced by the French Revolution and the subsequent Napoleonic wars, as crown prince he longed for a "Bavarian of all tribes" and a "bigger German nation." In this phase, Ludwig was planning a patriotic monument in the capital city of Munich and for this purpose he already in 1809 by historian Lorenz Westenrieder he had made a list of famous Bavarian representatives of all classes and professions. Approximately 20 years later this list was on his behalf by his Interior Minister Eduard von Schenk - in the meantime Ludwig was King of Bavaria - renewed and expanded.
For the tender for a Hall of Fame above the Theresienwiese with space for 200 busts King Ludwig I invited the best and most prestigious builders of those times:
Friedrich von Gärtner,
Leo von Klenze,
Joseph Daniel Ohlmüller and
Georg Friedrich Ziebland.
Hall of Fame after the scetch of Leo von Klenze
Design by Leo von Klenze
As the court master builder of that time of the king, Leo von Klenze had significant advantages because he on the one hand with the wishes of his client was very familiar and on the other hand also could examine the designs of its competitors in detail. Therefore, it is not surprising that the design of Klenze won the tender of the Hall of Fame in March 1834. He planned the Hall of Fame with a Doric portico in the background and a colossal statue in the foreground.
The construction of the Hall of Fame in the years 1843-1853 actually took place according to the planning of Klenze. After completion of the Hall of Fame, in 1853 the busts of 74 especially venerable Bavarians were set up, in 1868 another 10 were added. The bust of King Ludwig I was only in 1888 in the Hall of Fame erected to commemorate his 100th birthday and supplemented with the following inscription:
"To King Ludwig I to celebrate his 100th birthday, the grateful Munich."
The Hall of Fame itself is 68 meters long, 32 meters wide and stands on a 4.3 meter high pedestal. The roof is supported by the back wall and 48 Doric columns that have a height of about 7 meters and a diameter of 1.25 meters.
Since the Hall of Fame and the in it set up busts in 1944 during an air raid in WW2 were severely damaged, it was not until 1966 when the Bavarian Council of Ministers decided the reconstruction of the Hall of Fame and the continuation of honouring of Bavarian personalities by setting up of their busts. The renovation was completed in 1972 and the Hall of Fame on 26 October 1972 with the preserved and renovated busts could be reopened.
For the selection of the personalities the Bavarian Council of Ministers is responsible, which is advised by a committee of experts from the Bavarian Ministry of Culture, the Bavarian Academy of Fine Arts, the Bavarian Academy of Sciences, the Bavarian Palace Department, the House of Bavarian History, the Bavarian Ministry of Finance and the LMU (Ludwig Maximilian University).
Bavaria © 2009 Bavaria
The colossal statue of Bavaria forms an artistic unity with the Hall of Fame in the background. The first sketches of Bavaria von Klenze already in his design of the whole ensemble on the model of ancient colossal statues of antiquity had produced. It was modeled after the Colossus of Rhodes, the statue of Zeus of Phidias and especially the Athena Parthenos. Theoretically, it is even possible that a part of the bronze for the Bavaria was once part of the Colossus of Rhodes. After Klenze was awarded the contract for the construction of the ensemble consisting of Hall of Fame and Bavaria, he made more sketches on the Greek model.
Since the statue should be cast according to both of Klenze`s ideas and Ludwig`s wishes in bronze, he included the sculptor Ludwig Schwanthaler, the ore caster Johann Baptist Stiglmaier as well as whose nephew Ferdinand von Miller in the further design and manufacture of the Bavaria statue. While Schwanthaler with his first sketches still held to the classical model in the sense of Klenze, he gave the statue in the further course of his designs increasingly a "Germanic" appearance with typical "German" character. The head and the raised hand he adorned with a wreath of oak and at her side appeared the drawn sword as a sign of her ability to defend herself. At her feet placed Schwanthaler a lion, that always have served as heraldic animal of the Wittelsbach.
The manufacturing of the final designs for the Bavaria statue followed in the years 1839 to 1843. Schwanthaler however the beginning of the foundry did not live because he shortly before that died in April 1844. As first thing, the head of Bavaria was cast in September 1844, in January and March 1845 followed the arms, on 11 October 1845, the breast piece. The last major casting for the bottom part took place on 1 December 1849. The erection and unveiling of Bavaria occurred during Oktoberfest (Munich Beer Festival) 1850. The cost for the production of the statue Ludwig after his abdication as king of Bavaria on 20 March 1848 largely paid from private sources. A special feature of Bavaria is the spiral staircase in its interior, where you can climb up into her head to enjoy from there an incomparable view of the Oktoberfest.
bavarianspaces.de/veranstaltungen/oktoberfest/ruhmeshalle code ...
Hall of Fame and Bavaria at the Theresienwiese
The Hall of Fame and Bavaria form the most famous landmarks on the edge of the Theresienwiese and are well worth a visit.
The Hall of Fame and Bavaria form on the Theresien height an ensemble in style of the ancient Acropolis in Athens, which was commissioned by King Ludwig I there. Together with his architect Leo von Klenze King Ludwig I shaped the cityscape of Munich like no other. He was a friend of the monasteries and the academic spirit, and he turned his attention to painting and poetry.
As crown prince Ludwig after the death of his father in 1825 took over the throne of Bavaria he was already dreaming of his "Athens on the Isar" with monumental squares and buildings. Whereas his childhood and youth was influenced by the French Revolution and the subsequent Napoleonic wars, as crown prince he longed for a "Bavarian of all tribes" and a "bigger German nation." In this phase, Ludwig was planning a patriotic monument in the capital city of Munich and for this purpose he already in 1809 by historian Lorenz Westenrieder he had made a list of famous Bavarian representatives of all classes and professions. Approximately 20 years later this list was on his behalf by his Interior Minister Eduard von Schenk - in the meantime Ludwig was King of Bavaria - renewed and expanded.
For the tender for a Hall of Fame above the Theresienwiese with space for 200 busts King Ludwig I invited the best and most prestigious builders of those times:
Friedrich von Gärtner,
Leo von Klenze,
Joseph Daniel Ohlmüller and
Georg Friedrich Ziebland.
Hall of Fame after the scetch of Leo von Klenze
Design by Leo von Klenze
As the court master builder of that time of the king, Leo von Klenze had significant advantages because he on the one hand with the wishes of his client was very familiar and on the other hand also could examine the designs of its competitors in detail. Therefore, it is not surprising that the design of Klenze won the tender of the Hall of Fame in March 1834. He planned the Hall of Fame with a Doric portico in the background and a colossal statue in the foreground.
The construction of the Hall of Fame in the years 1843-1853 actually took place according to the planning of Klenze. After completion of the Hall of Fame, in 1853 the busts of 74 especially venerable Bavarians were set up, in 1868 another 10 were added. The bust of King Ludwig I was only in 1888 in the Hall of Fame erected to commemorate his 100th birthday and supplemented with the following inscription:
"To King Ludwig I to celebrate his 100th birthday, the grateful Munich."
The Hall of Fame itself is 68 meters long, 32 meters wide and stands on a 4.3 meter high pedestal. The roof is supported by the back wall and 48 Doric columns that have a height of about 7 meters and a diameter of 1.25 meters.
Since the Hall of Fame and the in it set up busts in 1944 during an air raid in WW2 were severely damaged, it was not until 1966 when the Bavarian Council of Ministers decided the reconstruction of the Hall of Fame and the continuation of honouring of Bavarian personalities by setting up of their busts. The renovation was completed in 1972 and the Hall of Fame on 26 October 1972 with the preserved and renovated busts could be reopened.
For the selection of the personalities the Bavarian Council of Ministers is responsible, which is advised by a committee of experts from the Bavarian Ministry of Culture, the Bavarian Academy of Fine Arts, the Bavarian Academy of Sciences, the Bavarian Palace Department, the House of Bavarian History, the Bavarian Ministry of Finance and the LMU (Ludwig Maximilian University).
Bavaria © 2009 Bavaria
The colossal statue of Bavaria forms an artistic unity with the Hall of Fame in the background. The first sketches of Bavaria von Klenze already in his design of the whole ensemble on the model of ancient colossal statues of antiquity had produced. It was modeled after the Colossus of Rhodes, the statue of Zeus of Phidias and especially the Athena Parthenos. Theoretically, it is even possible that a part of the bronze for the Bavaria was once part of the Colossus of Rhodes. After Klenze was awarded the contract for the construction of the ensemble consisting of Hall of Fame and Bavaria, he made more sketches on the Greek model.
Since the statue should be cast according to both of Klenze`s ideas and Ludwig`s wishes in bronze, he included the sculptor Ludwig Schwanthaler, the ore caster Johann Baptist Stiglmaier as well as whose nephew Ferdinand von Miller in the further design and manufacture of the Bavaria statue. While Schwanthaler with his first sketches still held to the classical model in the sense of Klenze, he gave the statue in the further course of his designs increasingly a "Germanic" appearance with typical "German" character. The head and the raised hand he adorned with a wreath of oak and at her side appeared the drawn sword as a sign of her ability to defend herself. At her feet placed Schwanthaler a lion, that always have served as heraldic animal of the Wittelsbach.
The manufacturing of the final designs for the Bavaria statue followed in the years 1839 to 1843. Schwanthaler however the beginning of the foundry did not live because he shortly before that died in April 1844. As first thing, the head of Bavaria was cast in September 1844, in January and March 1845 followed the arms, on 11 October 1845, the breast piece. The last major casting for the bottom part took place on 1 December 1849. The erection and unveiling of Bavaria occurred during Oktoberfest (Munich Beer Festival) 1850. The cost for the production of the statue Ludwig after his abdication as king of Bavaria on 20 March 1848 largely paid from private sources. A special feature of Bavaria is the spiral staircase in its interior, where you can climb up into her head to enjoy from there an incomparable view of the Oktoberfest.
bavarianspaces.de/veranstaltungen/oktoberfest/ruhmeshalle code ...
Hall of Fame and Bavaria at the Theresienwiese
The Hall of Fame and Bavaria form the most famous landmarks on the edge of the Theresienwiese and are well worth a visit.
The Hall of Fame and Bavaria form on the Theresien height an ensemble in style of the ancient Acropolis in Athens, which was commissioned by King Ludwig I there. Together with his architect Leo von Klenze King Ludwig I shaped the cityscape of Munich like no other. He was a friend of the monasteries and the academic spirit, and he turned his attention to painting and poetry.
As crown prince Ludwig after the death of his father in 1825 took over the throne of Bavaria he was already dreaming of his "Athens on the Isar" with monumental squares and buildings. Whereas his childhood and youth was influenced by the French Revolution and the subsequent Napoleonic wars, as crown prince he longed for a "Bavarian of all tribes" and a "bigger German nation." In this phase, Ludwig was planning a patriotic monument in the capital city of Munich and for this purpose he already in 1809 by historian Lorenz Westenrieder he had made a list of famous Bavarian representatives of all classes and professions. Approximately 20 years later this list was on his behalf by his Interior Minister Eduard von Schenk - in the meantime Ludwig was King of Bavaria - renewed and expanded.
For the tender for a Hall of Fame above the Theresienwiese with space for 200 busts King Ludwig I invited the best and most prestigious builders of those times:
Friedrich von Gärtner,
Leo von Klenze,
Joseph Daniel Ohlmüller and
Georg Friedrich Ziebland.
Hall of Fame after the scetch of Leo von Klenze
Design by Leo von Klenze
As the court master builder of that time of the king, Leo von Klenze had significant advantages because he on the one hand with the wishes of his client was very familiar and on the other hand also could examine the designs of its competitors in detail. Therefore, it is not surprising that the design of Klenze won the tender of the Hall of Fame in March 1834. He planned the Hall of Fame with a Doric portico in the background and a colossal statue in the foreground.
The construction of the Hall of Fame in the years 1843-1853 actually took place according to the planning of Klenze. After completion of the Hall of Fame, in 1853 the busts of 74 especially venerable Bavarians were set up, in 1868 another 10 were added. The bust of King Ludwig I was only in 1888 in the Hall of Fame erected to commemorate his 100th birthday and supplemented with the following inscription:
"To King Ludwig I to celebrate his 100th birthday, the grateful Munich."
The Hall of Fame itself is 68 meters long, 32 meters wide and stands on a 4.3 meter high pedestal. The roof is supported by the back wall and 48 Doric columns that have a height of about 7 meters and a diameter of 1.25 meters.
Since the Hall of Fame and the in it set up busts in 1944 during an air raid in WW2 were severely damaged, it was not until 1966 when the Bavarian Council of Ministers decided the reconstruction of the Hall of Fame and the continuation of honouring of Bavarian personalities by setting up of their busts. The renovation was completed in 1972 and the Hall of Fame on 26 October 1972 with the preserved and renovated busts could be reopened.
For the selection of the personalities the Bavarian Council of Ministers is responsible, which is advised by a committee of experts from the Bavarian Ministry of Culture, the Bavarian Academy of Fine Arts, the Bavarian Academy of Sciences, the Bavarian Palace Department, the House of Bavarian History, the Bavarian Ministry of Finance and the LMU (Ludwig Maximilian University).
Bavaria © 2009 Bavaria
The colossal statue of Bavaria forms an artistic unity with the Hall of Fame in the background. The first sketches of Bavaria von Klenze already in his design of the whole ensemble on the model of ancient colossal statues of antiquity had produced. It was modeled after the Colossus of Rhodes, the statue of Zeus of Phidias and especially the Athena Parthenos. Theoretically, it is even possible that a part of the bronze for the Bavaria was once part of the Colossus of Rhodes. After Klenze was awarded the contract for the construction of the ensemble consisting of Hall of Fame and Bavaria, he made more sketches on the Greek model.
Since the statue should be cast according to both of Klenze`s ideas and Ludwig`s wishes in bronze, he included the sculptor Ludwig Schwanthaler, the ore caster Johann Baptist Stiglmaier as well as whose nephew Ferdinand von Miller in the further design and manufacture of the Bavaria statue. While Schwanthaler with his first sketches still held to the classical model in the sense of Klenze, he gave the statue in the further course of his designs increasingly a "Germanic" appearance with typical "German" character. The head and the raised hand he adorned with a wreath of oak and at her side appeared the drawn sword as a sign of her ability to defend herself. At her feet placed Schwanthaler a lion, that always have served as heraldic animal of the Wittelsbach.
The manufacturing of the final designs for the Bavaria statue followed in the years 1839 to 1843. Schwanthaler however the beginning of the foundry did not live because he shortly before that died in April 1844. As first thing, the head of Bavaria was cast in September 1844, in January and March 1845 followed the arms, on 11 October 1845, the breast piece. The last major casting for the bottom part took place on 1 December 1849. The erection and unveiling of Bavaria occurred during Oktoberfest (Munich Beer Festival) 1850. The cost for the production of the statue Ludwig after his abdication as king of Bavaria on 20 March 1848 largely paid from private sources. A special feature of Bavaria is the spiral staircase in its interior, where you can climb up into her head to enjoy from there an incomparable view of the Oktoberfest.
bavarianspaces.de/veranstaltungen/oktoberfest/ruhmeshalle code ...
Hall of Fame and Bavaria at the Theresienwiese
The Hall of Fame and Bavaria form the most famous landmarks on the edge of the Theresienwiese and are well worth a visit.
The Hall of Fame and Bavaria form on the Theresien height an ensemble in style of the ancient Acropolis in Athens, which was commissioned by King Ludwig I there. Together with his architect Leo von Klenze King Ludwig I shaped the cityscape of Munich like no other. He was a friend of the monasteries and the academic spirit, and he turned his attention to painting and poetry.
As crown prince Ludwig after the death of his father in 1825 took over the throne of Bavaria he was already dreaming of his "Athens on the Isar" with monumental squares and buildings. Whereas his childhood and youth was influenced by the French Revolution and the subsequent Napoleonic wars, as crown prince he longed for a "Bavarian of all tribes" and a "bigger German nation." In this phase, Ludwig was planning a patriotic monument in the capital city of Munich and for this purpose he already in 1809 by historian Lorenz Westenrieder he had made a list of famous Bavarian representatives of all classes and professions. Approximately 20 years later this list was on his behalf by his Interior Minister Eduard von Schenk - in the meantime Ludwig was King of Bavaria - renewed and expanded.
For the tender for a Hall of Fame above the Theresienwiese with space for 200 busts King Ludwig I invited the best and most prestigious builders of those times:
Friedrich von Gärtner,
Leo von Klenze,
Joseph Daniel Ohlmüller and
Georg Friedrich Ziebland.
Hall of Fame after the scetch of Leo von Klenze
Design by Leo von Klenze
As the court master builder of that time of the king, Leo von Klenze had significant advantages because he on the one hand with the wishes of his client was very familiar and on the other hand also could examine the designs of its competitors in detail. Therefore, it is not surprising that the design of Klenze won the tender of the Hall of Fame in March 1834. He planned the Hall of Fame with a Doric portico in the background and a colossal statue in the foreground.
The construction of the Hall of Fame in the years 1843-1853 actually took place according to the planning of Klenze. After completion of the Hall of Fame, in 1853 the busts of 74 especially venerable Bavarians were set up, in 1868 another 10 were added. The bust of King Ludwig I was only in 1888 in the Hall of Fame erected to commemorate his 100th birthday and supplemented with the following inscription:
"To King Ludwig I to celebrate his 100th birthday, the grateful Munich."
The Hall of Fame itself is 68 meters long, 32 meters wide and stands on a 4.3 meter high pedestal. The roof is supported by the back wall and 48 Doric columns that have a height of about 7 meters and a diameter of 1.25 meters.
Since the Hall of Fame and the in it set up busts in 1944 during an air raid in WW2 were severely damaged, it was not until 1966 when the Bavarian Council of Ministers decided the reconstruction of the Hall of Fame and the continuation of honouring of Bavarian personalities by setting up of their busts. The renovation was completed in 1972 and the Hall of Fame on 26 October 1972 with the preserved and renovated busts could be reopened.
For the selection of the personalities the Bavarian Council of Ministers is responsible, which is advised by a committee of experts from the Bavarian Ministry of Culture, the Bavarian Academy of Fine Arts, the Bavarian Academy of Sciences, the Bavarian Palace Department, the House of Bavarian History, the Bavarian Ministry of Finance and the LMU (Ludwig Maximilian University).
Bavaria © 2009 Bavaria
The colossal statue of Bavaria forms an artistic unity with the Hall of Fame in the background. The first sketches of Bavaria von Klenze already in his design of the whole ensemble on the model of ancient colossal statues of antiquity had produced. It was modeled after the Colossus of Rhodes, the statue of Zeus of Phidias and especially the Athena Parthenos. Theoretically, it is even possible that a part of the bronze for the Bavaria was once part of the Colossus of Rhodes. After Klenze was awarded the contract for the construction of the ensemble consisting of Hall of Fame and Bavaria, he made more sketches on the Greek model.
Since the statue should be cast according to both of Klenze`s ideas and Ludwig`s wishes in bronze, he included the sculptor Ludwig Schwanthaler, the ore caster Johann Baptist Stiglmaier as well as whose nephew Ferdinand von Miller in the further design and manufacture of the Bavaria statue. While Schwanthaler with his first sketches still held to the classical model in the sense of Klenze, he gave the statue in the further course of his designs increasingly a "Germanic" appearance with typical "German" character. The head and the raised hand he adorned with a wreath of oak and at her side appeared the drawn sword as a sign of her ability to defend herself. At her feet placed Schwanthaler a lion, that always have served as heraldic animal of the Wittelsbach.
The manufacturing of the final designs for the Bavaria statue followed in the years 1839 to 1843. Schwanthaler however the beginning of the foundry did not live because he shortly before that died in April 1844. As first thing, the head of Bavaria was cast in September 1844, in January and March 1845 followed the arms, on 11 October 1845, the breast piece. The last major casting for the bottom part took place on 1 December 1849. The erection and unveiling of Bavaria occurred during Oktoberfest (Munich Beer Festival) 1850. The cost for the production of the statue Ludwig after his abdication as king of Bavaria on 20 March 1848 largely paid from private sources. A special feature of Bavaria is the spiral staircase in its interior, where you can climb up into her head to enjoy from there an incomparable view of the Oktoberfest.
bavarianspaces.de/veranstaltungen/oktoberfest/ruhmeshalle code ...
Hall of Fame and Bavaria at the Theresienwiese
The Hall of Fame and Bavaria form the most famous landmarks on the edge of the Theresienwiese and are well worth a visit.
The Hall of Fame and Bavaria form on the Theresien height an ensemble in style of the ancient Acropolis in Athens, which was commissioned by King Ludwig I there. Together with his architect Leo von Klenze King Ludwig I shaped the cityscape of Munich like no other. He was a friend of the monasteries and the academic spirit, and he turned his attention to painting and poetry.
As crown prince Ludwig after the death of his father in 1825 took over the throne of Bavaria he was already dreaming of his "Athens on the Isar" with monumental squares and buildings. Whereas his childhood and youth was influenced by the French Revolution and the subsequent Napoleonic wars, as crown prince he longed for a "Bavarian of all tribes" and a "bigger German nation." In this phase, Ludwig was planning a patriotic monument in the capital city of Munich and for this purpose he already in 1809 by historian Lorenz Westenrieder he had made a list of famous Bavarian representatives of all classes and professions. Approximately 20 years later this list was on his behalf by his Interior Minister Eduard von Schenk - in the meantime Ludwig was King of Bavaria - renewed and expanded.
For the tender for a Hall of Fame above the Theresienwiese with space for 200 busts King Ludwig I invited the best and most prestigious builders of those times:
Friedrich von Gärtner,
Leo von Klenze,
Joseph Daniel Ohlmüller and
Georg Friedrich Ziebland.
Hall of Fame after the scetch of Leo von Klenze
Design by Leo von Klenze
As the court master builder of that time of the king, Leo von Klenze had significant advantages because he on the one hand with the wishes of his client was very familiar and on the other hand also could examine the designs of its competitors in detail. Therefore, it is not surprising that the design of Klenze won the tender of the Hall of Fame in March 1834. He planned the Hall of Fame with a Doric portico in the background and a colossal statue in the foreground.
The construction of the Hall of Fame in the years 1843-1853 actually took place according to the planning of Klenze. After completion of the Hall of Fame, in 1853 the busts of 74 especially venerable Bavarians were set up, in 1868 another 10 were added. The bust of King Ludwig I was only in 1888 in the Hall of Fame erected to commemorate his 100th birthday and supplemented with the following inscription:
"To King Ludwig I to celebrate his 100th birthday, the grateful Munich."
The Hall of Fame itself is 68 meters long, 32 meters wide and stands on a 4.3 meter high pedestal. The roof is supported by the back wall and 48 Doric columns that have a height of about 7 meters and a diameter of 1.25 meters.
Since the Hall of Fame and the in it set up busts in 1944 during an air raid in WW2 were severely damaged, it was not until 1966 when the Bavarian Council of Ministers decided the reconstruction of the Hall of Fame and the continuation of honouring of Bavarian personalities by setting up of their busts. The renovation was completed in 1972 and the Hall of Fame on 26 October 1972 with the preserved and renovated busts could be reopened.
For the selection of the personalities the Bavarian Council of Ministers is responsible, which is advised by a committee of experts from the Bavarian Ministry of Culture, the Bavarian Academy of Fine Arts, the Bavarian Academy of Sciences, the Bavarian Palace Department, the House of Bavarian History, the Bavarian Ministry of Finance and the LMU (Ludwig Maximilian University).
Bavaria © 2009 Bavaria
The colossal statue of Bavaria forms an artistic unity with the Hall of Fame in the background. The first sketches of Bavaria von Klenze already in his design of the whole ensemble on the model of ancient colossal statues of antiquity had produced. It was modeled after the Colossus of Rhodes, the statue of Zeus of Phidias and especially the Athena Parthenos. Theoretically, it is even possible that a part of the bronze for the Bavaria was once part of the Colossus of Rhodes. After Klenze was awarded the contract for the construction of the ensemble consisting of Hall of Fame and Bavaria, he made more sketches on the Greek model.
Since the statue should be cast according to both of Klenze`s ideas and Ludwig`s wishes in bronze, he included the sculptor Ludwig Schwanthaler, the ore caster Johann Baptist Stiglmaier as well as whose nephew Ferdinand von Miller in the further design and manufacture of the Bavaria statue. While Schwanthaler with his first sketches still held to the classical model in the sense of Klenze, he gave the statue in the further course of his designs increasingly a "Germanic" appearance with typical "German" character. The head and the raised hand he adorned with a wreath of oak and at her side appeared the drawn sword as a sign of her ability to defend herself. At her feet placed Schwanthaler a lion, that always have served as heraldic animal of the Wittelsbach.
The manufacturing of the final designs for the Bavaria statue followed in the years 1839 to 1843. Schwanthaler however the beginning of the foundry did not live because he shortly before that died in April 1844. As first thing, the head of Bavaria was cast in September 1844, in January and March 1845 followed the arms, on 11 October 1845, the breast piece. The last major casting for the bottom part took place on 1 December 1849. The erection and unveiling of Bavaria occurred during Oktoberfest (Munich Beer Festival) 1850. The cost for the production of the statue Ludwig after his abdication as king of Bavaria on 20 March 1848 largely paid from private sources. A special feature of Bavaria is the spiral staircase in its interior, where you can climb up into her head to enjoy from there an incomparable view of the Oktoberfest.
bavarianspaces.de/veranstaltungen/oktoberfest/ruhmeshalle code ...
✰ This photo was featured on The Epic Global Showcase here: bit.ly/1WdtzvM
-------------
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by @artistic_exposure_ on Instagram.
Hall of Fame and Bavaria at the Theresienwiese
The Hall of Fame and Bavaria form the most famous landmarks on the edge of the Theresienwiese and are well worth a visit.
The Hall of Fame and Bavaria form on the Theresien height an ensemble in style of the ancient Acropolis in Athens, which was commissioned by King Ludwig I there. Together with his architect Leo von Klenze King Ludwig I shaped the cityscape of Munich like no other. He was a friend of the monasteries and the academic spirit, and he turned his attention to painting and poetry.
As crown prince Ludwig after the death of his father in 1825 took over the throne of Bavaria he was already dreaming of his "Athens on the Isar" with monumental squares and buildings. Whereas his childhood and youth was influenced by the French Revolution and the subsequent Napoleonic wars, as crown prince he longed for a "Bavarian of all tribes" and a "bigger German nation." In this phase, Ludwig was planning a patriotic monument in the capital city of Munich and for this purpose he already in 1809 by historian Lorenz Westenrieder he had made a list of famous Bavarian representatives of all classes and professions. Approximately 20 years later this list was on his behalf by his Interior Minister Eduard von Schenk - in the meantime Ludwig was King of Bavaria - renewed and expanded.
For the tender for a Hall of Fame above the Theresienwiese with space for 200 busts King Ludwig I invited the best and most prestigious builders of those times:
Friedrich von Gärtner,
Leo von Klenze,
Joseph Daniel Ohlmüller and
Georg Friedrich Ziebland.
Hall of Fame after the scetch of Leo von Klenze
Design by Leo von Klenze
As the court master builder of that time of the king, Leo von Klenze had significant advantages because he on the one hand with the wishes of his client was very familiar and on the other hand also could examine the designs of its competitors in detail. Therefore, it is not surprising that the design of Klenze won the tender of the Hall of Fame in March 1834. He planned the Hall of Fame with a Doric portico in the background and a colossal statue in the foreground.
The construction of the Hall of Fame in the years 1843-1853 actually took place according to the planning of Klenze. After completion of the Hall of Fame, in 1853 the busts of 74 especially venerable Bavarians were set up, in 1868 another 10 were added. The bust of King Ludwig I was only in 1888 in the Hall of Fame erected to commemorate his 100th birthday and supplemented with the following inscription:
"To King Ludwig I to celebrate his 100th birthday, the grateful Munich."
The Hall of Fame itself is 68 meters long, 32 meters wide and stands on a 4.3 meter high pedestal. The roof is supported by the back wall and 48 Doric columns that have a height of about 7 meters and a diameter of 1.25 meters.
Since the Hall of Fame and the in it set up busts in 1944 during an air raid in WW2 were severely damaged, it was not until 1966 when the Bavarian Council of Ministers decided the reconstruction of the Hall of Fame and the continuation of honouring of Bavarian personalities by setting up of their busts. The renovation was completed in 1972 and the Hall of Fame on 26 October 1972 with the preserved and renovated busts could be reopened.
For the selection of the personalities the Bavarian Council of Ministers is responsible, which is advised by a committee of experts from the Bavarian Ministry of Culture, the Bavarian Academy of Fine Arts, the Bavarian Academy of Sciences, the Bavarian Palace Department, the House of Bavarian History, the Bavarian Ministry of Finance and the LMU (Ludwig Maximilian University).
Bavaria © 2009 Bavaria
The colossal statue of Bavaria forms an artistic unity with the Hall of Fame in the background. The first sketches of Bavaria von Klenze already in his design of the whole ensemble on the model of ancient colossal statues of antiquity had produced. It was modeled after the Colossus of Rhodes, the statue of Zeus of Phidias and especially the Athena Parthenos. Theoretically, it is even possible that a part of the bronze for the Bavaria was once part of the Colossus of Rhodes. After Klenze was awarded the contract for the construction of the ensemble consisting of Hall of Fame and Bavaria, he made more sketches on the Greek model.
Since the statue should be cast according to both of Klenze`s ideas and Ludwig`s wishes in bronze, he included the sculptor Ludwig Schwanthaler, the ore caster Johann Baptist Stiglmaier as well as whose nephew Ferdinand von Miller in the further design and manufacture of the Bavaria statue. While Schwanthaler with his first sketches still held to the classical model in the sense of Klenze, he gave the statue in the further course of his designs increasingly a "Germanic" appearance with typical "German" character. The head and the raised hand he adorned with a wreath of oak and at her side appeared the drawn sword as a sign of her ability to defend herself. At her feet placed Schwanthaler a lion, that always have served as heraldic animal of the Wittelsbach.
The manufacturing of the final designs for the Bavaria statue followed in the years 1839 to 1843. Schwanthaler however the beginning of the foundry did not live because he shortly before that died in April 1844. As first thing, the head of Bavaria was cast in September 1844, in January and March 1845 followed the arms, on 11 October 1845, the breast piece. The last major casting for the bottom part took place on 1 December 1849. The erection and unveiling of Bavaria occurred during Oktoberfest (Munich Beer Festival) 1850. The cost for the production of the statue Ludwig after his abdication as king of Bavaria on 20 March 1848 largely paid from private sources. A special feature of Bavaria is the spiral staircase in its interior, where you can climb up into her head to enjoy from there an incomparable view of the Oktoberfest.
bavarianspaces.de/veranstaltungen/oktoberfest/ruhmeshalle code ...
✰ This photo was featured on The Epic Global Showcase here: bit.ly/1Trv5VX
-------------
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Hall of Fame and Bavaria at the Theresienwiese
The Hall of Fame and Bavaria form the most famous landmarks on the edge of the Theresienwiese and are well worth a visit.
The Hall of Fame and Bavaria form on the Theresien height an ensemble in style of the ancient Acropolis in Athens, which was commissioned by King Ludwig I there. Together with his architect Leo von Klenze King Ludwig I shaped the cityscape of Munich like no other. He was a friend of the monasteries and the academic spirit, and he turned his attention to painting and poetry.
As crown prince Ludwig after the death of his father in 1825 took over the throne of Bavaria he was already dreaming of his "Athens on the Isar" with monumental squares and buildings. Whereas his childhood and youth was influenced by the French Revolution and the subsequent Napoleonic wars, as crown prince he longed for a "Bavarian of all tribes" and a "bigger German nation." In this phase, Ludwig was planning a patriotic monument in the capital city of Munich and for this purpose he already in 1809 by historian Lorenz Westenrieder he had made a list of famous Bavarian representatives of all classes and professions. Approximately 20 years later this list was on his behalf by his Interior Minister Eduard von Schenk - in the meantime Ludwig was King of Bavaria - renewed and expanded.
For the tender for a Hall of Fame above the Theresienwiese with space for 200 busts King Ludwig I invited the best and most prestigious builders of those times:
Friedrich von Gärtner,
Leo von Klenze,
Joseph Daniel Ohlmüller and
Georg Friedrich Ziebland.
Hall of Fame after the scetch of Leo von Klenze
Design by Leo von Klenze
As the court master builder of that time of the king, Leo von Klenze had significant advantages because he on the one hand with the wishes of his client was very familiar and on the other hand also could examine the designs of its competitors in detail. Therefore, it is not surprising that the design of Klenze won the tender of the Hall of Fame in March 1834. He planned the Hall of Fame with a Doric portico in the background and a colossal statue in the foreground.
The construction of the Hall of Fame in the years 1843-1853 actually took place according to the planning of Klenze. After completion of the Hall of Fame, in 1853 the busts of 74 especially venerable Bavarians were set up, in 1868 another 10 were added. The bust of King Ludwig I was only in 1888 in the Hall of Fame erected to commemorate his 100th birthday and supplemented with the following inscription:
"To King Ludwig I to celebrate his 100th birthday, the grateful Munich."
The Hall of Fame itself is 68 meters long, 32 meters wide and stands on a 4.3 meter high pedestal. The roof is supported by the back wall and 48 Doric columns that have a height of about 7 meters and a diameter of 1.25 meters.
Since the Hall of Fame and the in it set up busts in 1944 during an air raid in WW2 were severely damaged, it was not until 1966 when the Bavarian Council of Ministers decided the reconstruction of the Hall of Fame and the continuation of honouring of Bavarian personalities by setting up of their busts. The renovation was completed in 1972 and the Hall of Fame on 26 October 1972 with the preserved and renovated busts could be reopened.
For the selection of the personalities the Bavarian Council of Ministers is responsible, which is advised by a committee of experts from the Bavarian Ministry of Culture, the Bavarian Academy of Fine Arts, the Bavarian Academy of Sciences, the Bavarian Palace Department, the House of Bavarian History, the Bavarian Ministry of Finance and the LMU (Ludwig Maximilian University).
Bavaria © 2009 Bavaria
The colossal statue of Bavaria forms an artistic unity with the Hall of Fame in the background. The first sketches of Bavaria von Klenze already in his design of the whole ensemble on the model of ancient colossal statues of antiquity had produced. It was modeled after the Colossus of Rhodes, the statue of Zeus of Phidias and especially the Athena Parthenos. Theoretically, it is even possible that a part of the bronze for the Bavaria was once part of the Colossus of Rhodes. After Klenze was awarded the contract for the construction of the ensemble consisting of Hall of Fame and Bavaria, he made more sketches on the Greek model.
Since the statue should be cast according to both of Klenze`s ideas and Ludwig`s wishes in bronze, he included the sculptor Ludwig Schwanthaler, the ore caster Johann Baptist Stiglmaier as well as whose nephew Ferdinand von Miller in the further design and manufacture of the Bavaria statue. While Schwanthaler with his first sketches still held to the classical model in the sense of Klenze, he gave the statue in the further course of his designs increasingly a "Germanic" appearance with typical "German" character. The head and the raised hand he adorned with a wreath of oak and at her side appeared the drawn sword as a sign of her ability to defend herself. At her feet placed Schwanthaler a lion, that always have served as heraldic animal of the Wittelsbach.
The manufacturing of the final designs for the Bavaria statue followed in the years 1839 to 1843. Schwanthaler however the beginning of the foundry did not live because he shortly before that died in April 1844. As first thing, the head of Bavaria was cast in September 1844, in January and March 1845 followed the arms, on 11 October 1845, the breast piece. The last major casting for the bottom part took place on 1 December 1849. The erection and unveiling of Bavaria occurred during Oktoberfest (Munich Beer Festival) 1850. The cost for the production of the statue Ludwig after his abdication as king of Bavaria on 20 March 1848 largely paid from private sources. A special feature of Bavaria is the spiral staircase in its interior, where you can climb up into her head to enjoy from there an incomparable view of the Oktoberfest.
bavarianspaces.de/veranstaltungen/oktoberfest/ruhmeshalle code ...
Hall of Fame and Bavaria at the Theresienwiese
The Hall of Fame and Bavaria form the most famous landmarks on the edge of the Theresienwiese and are well worth a visit.
The Hall of Fame and Bavaria form on the Theresien height an ensemble in style of the ancient Acropolis in Athens, which was commissioned by King Ludwig I there. Together with his architect Leo von Klenze King Ludwig I shaped the cityscape of Munich like no other. He was a friend of the monasteries and the academic spirit, and he turned his attention to painting and poetry.
As crown prince Ludwig after the death of his father in 1825 took over the throne of Bavaria he was already dreaming of his "Athens on the Isar" with monumental squares and buildings. Whereas his childhood and youth was influenced by the French Revolution and the subsequent Napoleonic wars, as crown prince he longed for a "Bavarian of all tribes" and a "bigger German nation." In this phase, Ludwig was planning a patriotic monument in the capital city of Munich and for this purpose he already in 1809 by historian Lorenz Westenrieder he had made a list of famous Bavarian representatives of all classes and professions. Approximately 20 years later this list was on his behalf by his Interior Minister Eduard von Schenk - in the meantime Ludwig was King of Bavaria - renewed and expanded.
For the tender for a Hall of Fame above the Theresienwiese with space for 200 busts King Ludwig I invited the best and most prestigious builders of those times:
Friedrich von Gärtner,
Leo von Klenze,
Joseph Daniel Ohlmüller and
Georg Friedrich Ziebland.
Hall of Fame after the scetch of Leo von Klenze
Design by Leo von Klenze
As the court master builder of that time of the king, Leo von Klenze had significant advantages because he on the one hand with the wishes of his client was very familiar and on the other hand also could examine the designs of its competitors in detail. Therefore, it is not surprising that the design of Klenze won the tender of the Hall of Fame in March 1834. He planned the Hall of Fame with a Doric portico in the background and a colossal statue in the foreground.
The construction of the Hall of Fame in the years 1843-1853 actually took place according to the planning of Klenze. After completion of the Hall of Fame, in 1853 the busts of 74 especially venerable Bavarians were set up, in 1868 another 10 were added. The bust of King Ludwig I was only in 1888 in the Hall of Fame erected to commemorate his 100th birthday and supplemented with the following inscription:
"To King Ludwig I to celebrate his 100th birthday, the grateful Munich."
The Hall of Fame itself is 68 meters long, 32 meters wide and stands on a 4.3 meter high pedestal. The roof is supported by the back wall and 48 Doric columns that have a height of about 7 meters and a diameter of 1.25 meters.
Since the Hall of Fame and the in it set up busts in 1944 during an air raid in WW2 were severely damaged, it was not until 1966 when the Bavarian Council of Ministers decided the reconstruction of the Hall of Fame and the continuation of honouring of Bavarian personalities by setting up of their busts. The renovation was completed in 1972 and the Hall of Fame on 26 October 1972 with the preserved and renovated busts could be reopened.
For the selection of the personalities the Bavarian Council of Ministers is responsible, which is advised by a committee of experts from the Bavarian Ministry of Culture, the Bavarian Academy of Fine Arts, the Bavarian Academy of Sciences, the Bavarian Palace Department, the House of Bavarian History, the Bavarian Ministry of Finance and the LMU (Ludwig Maximilian University).
Bavaria © 2009 Bavaria
The colossal statue of Bavaria forms an artistic unity with the Hall of Fame in the background. The first sketches of Bavaria von Klenze already in his design of the whole ensemble on the model of ancient colossal statues of antiquity had produced. It was modeled after the Colossus of Rhodes, the statue of Zeus of Phidias and especially the Athena Parthenos. Theoretically, it is even possible that a part of the bronze for the Bavaria was once part of the Colossus of Rhodes. After Klenze was awarded the contract for the construction of the ensemble consisting of Hall of Fame and Bavaria, he made more sketches on the Greek model.
Since the statue should be cast according to both of Klenze`s ideas and Ludwig`s wishes in bronze, he included the sculptor Ludwig Schwanthaler, the ore caster Johann Baptist Stiglmaier as well as whose nephew Ferdinand von Miller in the further design and manufacture of the Bavaria statue. While Schwanthaler with his first sketches still held to the classical model in the sense of Klenze, he gave the statue in the further course of his designs increasingly a "Germanic" appearance with typical "German" character. The head and the raised hand he adorned with a wreath of oak and at her side appeared the drawn sword as a sign of her ability to defend herself. At her feet placed Schwanthaler a lion, that always have served as heraldic animal of the Wittelsbach.
The manufacturing of the final designs for the Bavaria statue followed in the years 1839 to 1843. Schwanthaler however the beginning of the foundry did not live because he shortly before that died in April 1844. As first thing, the head of Bavaria was cast in September 1844, in January and March 1845 followed the arms, on 11 October 1845, the breast piece. The last major casting for the bottom part took place on 1 December 1849. The erection and unveiling of Bavaria occurred during Oktoberfest (Munich Beer Festival) 1850. The cost for the production of the statue Ludwig after his abdication as king of Bavaria on 20 March 1848 largely paid from private sources. A special feature of Bavaria is the spiral staircase in its interior, where you can climb up into her head to enjoy from there an incomparable view of the Oktoberfest.
bavarianspaces.de/veranstaltungen/oktoberfest/ruhmeshalle code ...
Theresienhöhe 16
Bavaria, über mächtiger Freitreppe Kolossalfigur der Bavaria (Bronze, auf hohem Unterbau), 1843–50 nach Entwurf von Ludwig Schwanthaler. D-1-62-000-6858
Hall of Fame and Bavaria at the Theresienwiese
The Hall of Fame and Bavaria form the most famous landmarks on the edge of the Theresienwiese and are well worth a visit.
The Hall of Fame and Bavaria form on the Theresien height an ensemble in style of the ancient Acropolis in Athens, which was commissioned by King Ludwig I there. Together with his architect Leo von Klenze King Ludwig I shaped the cityscape of Munich like no other. He was a friend of the monasteries and the academic spirit, and he turned his attention to painting and poetry.
As crown prince Ludwig after the death of his father in 1825 took over the throne of Bavaria he was already dreaming of his "Athens on the Isar" with monumental squares and buildings. Whereas his childhood and youth was influenced by the French Revolution and the subsequent Napoleonic wars, as crown prince he longed for a "Bavarian of all tribes" and a "bigger German nation." In this phase, Ludwig was planning a patriotic monument in the capital city of Munich and for this purpose he already in 1809 by historian Lorenz Westenrieder he had made a list of famous Bavarian representatives of all classes and professions. Approximately 20 years later this list was on his behalf by his Interior Minister Eduard von Schenk - in the meantime Ludwig was King of Bavaria - renewed and expanded.
For the tender for a Hall of Fame above the Theresienwiese with space for 200 busts King Ludwig I invited the best and most prestigious builders of those times:
Friedrich von Gärtner,
Leo von Klenze,
Joseph Daniel Ohlmüller and
Georg Friedrich Ziebland.
Hall of Fame after the scetch of Leo von Klenze
Design by Leo von Klenze
As the court master builder of that time of the king, Leo von Klenze had significant advantages because he on the one hand with the wishes of his client was very familiar and on the other hand also could examine the designs of its competitors in detail. Therefore, it is not surprising that the design of Klenze won the tender of the Hall of Fame in March 1834. He planned the Hall of Fame with a Doric portico in the background and a colossal statue in the foreground.
The construction of the Hall of Fame in the years 1843-1853 actually took place according to the planning of Klenze. After completion of the Hall of Fame, in 1853 the busts of 74 especially venerable Bavarians were set up, in 1868 another 10 were added. The bust of King Ludwig I was only in 1888 in the Hall of Fame erected to commemorate his 100th birthday and supplemented with the following inscription:
"To King Ludwig I to celebrate his 100th birthday, the grateful Munich."
The Hall of Fame itself is 68 meters long, 32 meters wide and stands on a 4.3 meter high pedestal. The roof is supported by the back wall and 48 Doric columns that have a height of about 7 meters and a diameter of 1.25 meters.
Since the Hall of Fame and the in it set up busts in 1944 during an air raid in WW2 were severely damaged, it was not until 1966 when the Bavarian Council of Ministers decided the reconstruction of the Hall of Fame and the continuation of honouring of Bavarian personalities by setting up of their busts. The renovation was completed in 1972 and the Hall of Fame on 26 October 1972 with the preserved and renovated busts could be reopened.
For the selection of the personalities the Bavarian Council of Ministers is responsible, which is advised by a committee of experts from the Bavarian Ministry of Culture, the Bavarian Academy of Fine Arts, the Bavarian Academy of Sciences, the Bavarian Palace Department, the House of Bavarian History, the Bavarian Ministry of Finance and the LMU (Ludwig Maximilian University).
Bavaria © 2009 Bavaria
The colossal statue of Bavaria forms an artistic unity with the Hall of Fame in the background. The first sketches of Bavaria von Klenze already in his design of the whole ensemble on the model of ancient colossal statues of antiquity had produced. It was modeled after the Colossus of Rhodes, the statue of Zeus of Phidias and especially the Athena Parthenos. Theoretically, it is even possible that a part of the bronze for the Bavaria was once part of the Colossus of Rhodes. After Klenze was awarded the contract for the construction of the ensemble consisting of Hall of Fame and Bavaria, he made more sketches on the Greek model.
Since the statue should be cast according to both of Klenze`s ideas and Ludwig`s wishes in bronze, he included the sculptor Ludwig Schwanthaler, the ore caster Johann Baptist Stiglmaier as well as whose nephew Ferdinand von Miller in the further design and manufacture of the Bavaria statue. While Schwanthaler with his first sketches still held to the classical model in the sense of Klenze, he gave the statue in the further course of his designs increasingly a "Germanic" appearance with typical "German" character. The head and the raised hand he adorned with a wreath of oak and at her side appeared the drawn sword as a sign of her ability to defend herself. At her feet placed Schwanthaler a lion, that always have served as heraldic animal of the Wittelsbach.
The manufacturing of the final designs for the Bavaria statue followed in the years 1839 to 1843. Schwanthaler however the beginning of the foundry did not live because he shortly before that died in April 1844. As first thing, the head of Bavaria was cast in September 1844, in January and March 1845 followed the arms, on 11 October 1845, the breast piece. The last major casting for the bottom part took place on 1 December 1849. The erection and unveiling of Bavaria occurred during Oktoberfest (Munich Beer Festival) 1850. The cost for the production of the statue Ludwig after his abdication as king of Bavaria on 20 March 1848 largely paid from private sources. A special feature of Bavaria is the spiral staircase in its interior, where you can climb up into her head to enjoy from there an incomparable view of the Oktoberfest.
bavarianspaces.de/veranstaltungen/oktoberfest/ruhmeshalle code ...
Hall of Fame and Bavaria at the Theresienwiese
The Hall of Fame and Bavaria form the most famous landmarks on the edge of the Theresienwiese and are well worth a visit.
The Hall of Fame and Bavaria form on the Theresien height an ensemble in style of the ancient Acropolis in Athens, which was commissioned by King Ludwig I there. Together with his architect Leo von Klenze King Ludwig I shaped the cityscape of Munich like no other. He was a friend of the monasteries and the academic spirit, and he turned his attention to painting and poetry.
As crown prince Ludwig after the death of his father in 1825 took over the throne of Bavaria he was already dreaming of his "Athens on the Isar" with monumental squares and buildings. Whereas his childhood and youth was influenced by the French Revolution and the subsequent Napoleonic wars, as crown prince he longed for a "Bavarian of all tribes" and a "bigger German nation." In this phase, Ludwig was planning a patriotic monument in the capital city of Munich and for this purpose he already in 1809 by historian Lorenz Westenrieder he had made a list of famous Bavarian representatives of all classes and professions. Approximately 20 years later this list was on his behalf by his Interior Minister Eduard von Schenk - in the meantime Ludwig was King of Bavaria - renewed and expanded.
For the tender for a Hall of Fame above the Theresienwiese with space for 200 busts King Ludwig I invited the best and most prestigious builders of those times:
Friedrich von Gärtner,
Leo von Klenze,
Joseph Daniel Ohlmüller and
Georg Friedrich Ziebland.
Hall of Fame after the scetch of Leo von Klenze
Design by Leo von Klenze
As the court master builder of that time of the king, Leo von Klenze had significant advantages because he on the one hand with the wishes of his client was very familiar and on the other hand also could examine the designs of its competitors in detail. Therefore, it is not surprising that the design of Klenze won the tender of the Hall of Fame in March 1834. He planned the Hall of Fame with a Doric portico in the background and a colossal statue in the foreground.
The construction of the Hall of Fame in the years 1843-1853 actually took place according to the planning of Klenze. After completion of the Hall of Fame, in 1853 the busts of 74 especially venerable Bavarians were set up, in 1868 another 10 were added. The bust of King Ludwig I was only in 1888 in the Hall of Fame erected to commemorate his 100th birthday and supplemented with the following inscription:
"To King Ludwig I to celebrate his 100th birthday, the grateful Munich."
The Hall of Fame itself is 68 meters long, 32 meters wide and stands on a 4.3 meter high pedestal. The roof is supported by the back wall and 48 Doric columns that have a height of about 7 meters and a diameter of 1.25 meters.
Since the Hall of Fame and the in it set up busts in 1944 during an air raid in WW2 were severely damaged, it was not until 1966 when the Bavarian Council of Ministers decided the reconstruction of the Hall of Fame and the continuation of honouring of Bavarian personalities by setting up of their busts. The renovation was completed in 1972 and the Hall of Fame on 26 October 1972 with the preserved and renovated busts could be reopened.
For the selection of the personalities the Bavarian Council of Ministers is responsible, which is advised by a committee of experts from the Bavarian Ministry of Culture, the Bavarian Academy of Fine Arts, the Bavarian Academy of Sciences, the Bavarian Palace Department, the House of Bavarian History, the Bavarian Ministry of Finance and the LMU (Ludwig Maximilian University).
Bavaria © 2009 Bavaria
The colossal statue of Bavaria forms an artistic unity with the Hall of Fame in the background. The first sketches of Bavaria von Klenze already in his design of the whole ensemble on the model of ancient colossal statues of antiquity had produced. It was modeled after the Colossus of Rhodes, the statue of Zeus of Phidias and especially the Athena Parthenos. Theoretically, it is even possible that a part of the bronze for the Bavaria was once part of the Colossus of Rhodes. After Klenze was awarded the contract for the construction of the ensemble consisting of Hall of Fame and Bavaria, he made more sketches on the Greek model.
Since the statue should be cast according to both of Klenze`s ideas and Ludwig`s wishes in bronze, he included the sculptor Ludwig Schwanthaler, the ore caster Johann Baptist Stiglmaier as well as whose nephew Ferdinand von Miller in the further design and manufacture of the Bavaria statue. While Schwanthaler with his first sketches still held to the classical model in the sense of Klenze, he gave the statue in the further course of his designs increasingly a "Germanic" appearance with typical "German" character. The head and the raised hand he adorned with a wreath of oak and at her side appeared the drawn sword as a sign of her ability to defend herself. At her feet placed Schwanthaler a lion, that always have served as heraldic animal of the Wittelsbach.
The manufacturing of the final designs for the Bavaria statue followed in the years 1839 to 1843. Schwanthaler however the beginning of the foundry did not live because he shortly before that died in April 1844. As first thing, the head of Bavaria was cast in September 1844, in January and March 1845 followed the arms, on 11 October 1845, the breast piece. The last major casting for the bottom part took place on 1 December 1849. The erection and unveiling of Bavaria occurred during Oktoberfest (Munich Beer Festival) 1850. The cost for the production of the statue Ludwig after his abdication as king of Bavaria on 20 March 1848 largely paid from private sources. A special feature of Bavaria is the spiral staircase in its interior, where you can climb up into her head to enjoy from there an incomparable view of the Oktoberfest.
bavarianspaces.de/veranstaltungen/oktoberfest/ruhmeshalle code ...
Hall of Fame and Bavaria at the Theresienwiese
The Hall of Fame and Bavaria form the most famous landmarks on the edge of the Theresienwiese and are well worth a visit.
The Hall of Fame and Bavaria form on the Theresien height an ensemble in style of the ancient Acropolis in Athens, which was commissioned by King Ludwig I there. Together with his architect Leo von Klenze King Ludwig I shaped the cityscape of Munich like no other. He was a friend of the monasteries and the academic spirit, and he turned his attention to painting and poetry.
As crown prince Ludwig after the death of his father in 1825 took over the throne of Bavaria he was already dreaming of his "Athens on the Isar" with monumental squares and buildings. Whereas his childhood and youth was influenced by the French Revolution and the subsequent Napoleonic wars, as crown prince he longed for a "Bavarian of all tribes" and a "bigger German nation." In this phase, Ludwig was planning a patriotic monument in the capital city of Munich and for this purpose he already in 1809 by historian Lorenz Westenrieder he had made a list of famous Bavarian representatives of all classes and professions. Approximately 20 years later this list was on his behalf by his Interior Minister Eduard von Schenk - in the meantime Ludwig was King of Bavaria - renewed and expanded.
For the tender for a Hall of Fame above the Theresienwiese with space for 200 busts King Ludwig I invited the best and most prestigious builders of those times:
Friedrich von Gärtner,
Leo von Klenze,
Joseph Daniel Ohlmüller and
Georg Friedrich Ziebland.
Hall of Fame after the scetch of Leo von Klenze
Design by Leo von Klenze
As the court master builder of that time of the king, Leo von Klenze had significant advantages because he on the one hand with the wishes of his client was very familiar and on the other hand also could examine the designs of its competitors in detail. Therefore, it is not surprising that the design of Klenze won the tender of the Hall of Fame in March 1834. He planned the Hall of Fame with a Doric portico in the background and a colossal statue in the foreground.
The construction of the Hall of Fame in the years 1843-1853 actually took place according to the planning of Klenze. After completion of the Hall of Fame, in 1853 the busts of 74 especially venerable Bavarians were set up, in 1868 another 10 were added. The bust of King Ludwig I was only in 1888 in the Hall of Fame erected to commemorate his 100th birthday and supplemented with the following inscription:
"To King Ludwig I to celebrate his 100th birthday, the grateful Munich."
The Hall of Fame itself is 68 meters long, 32 meters wide and stands on a 4.3 meter high pedestal. The roof is supported by the back wall and 48 Doric columns that have a height of about 7 meters and a diameter of 1.25 meters.
Since the Hall of Fame and the in it set up busts in 1944 during an air raid in WW2 were severely damaged, it was not until 1966 when the Bavarian Council of Ministers decided the reconstruction of the Hall of Fame and the continuation of honouring of Bavarian personalities by setting up of their busts. The renovation was completed in 1972 and the Hall of Fame on 26 October 1972 with the preserved and renovated busts could be reopened.
For the selection of the personalities the Bavarian Council of Ministers is responsible, which is advised by a committee of experts from the Bavarian Ministry of Culture, the Bavarian Academy of Fine Arts, the Bavarian Academy of Sciences, the Bavarian Palace Department, the House of Bavarian History, the Bavarian Ministry of Finance and the LMU (Ludwig Maximilian University).
Bavaria © 2009 Bavaria
The colossal statue of Bavaria forms an artistic unity with the Hall of Fame in the background. The first sketches of Bavaria von Klenze already in his design of the whole ensemble on the model of ancient colossal statues of antiquity had produced. It was modeled after the Colossus of Rhodes, the statue of Zeus of Phidias and especially the Athena Parthenos. Theoretically, it is even possible that a part of the bronze for the Bavaria was once part of the Colossus of Rhodes. After Klenze was awarded the contract for the construction of the ensemble consisting of Hall of Fame and Bavaria, he made more sketches on the Greek model.
Since the statue should be cast according to both of Klenze`s ideas and Ludwig`s wishes in bronze, he included the sculptor Ludwig Schwanthaler, the ore caster Johann Baptist Stiglmaier as well as whose nephew Ferdinand von Miller in the further design and manufacture of the Bavaria statue. While Schwanthaler with his first sketches still held to the classical model in the sense of Klenze, he gave the statue in the further course of his designs increasingly a "Germanic" appearance with typical "German" character. The head and the raised hand he adorned with a wreath of oak and at her side appeared the drawn sword as a sign of her ability to defend herself. At her feet placed Schwanthaler a lion, that always have served as heraldic animal of the Wittelsbach.
The manufacturing of the final designs for the Bavaria statue followed in the years 1839 to 1843. Schwanthaler however the beginning of the foundry did not live because he shortly before that died in April 1844. As first thing, the head of Bavaria was cast in September 1844, in January and March 1845 followed the arms, on 11 October 1845, the breast piece. The last major casting for the bottom part took place on 1 December 1849. The erection and unveiling of Bavaria occurred during Oktoberfest (Munich Beer Festival) 1850. The cost for the production of the statue Ludwig after his abdication as king of Bavaria on 20 March 1848 largely paid from private sources. A special feature of Bavaria is the spiral staircase in its interior, where you can climb up into her head to enjoy from there an incomparable view of the Oktoberfest.
bavarianspaces.de/veranstaltungen/oktoberfest/ruhmeshalle code ...
Hall of Fame and Bavaria at the Theresienwiese
The Hall of Fame and Bavaria form the most famous landmarks on the edge of the Theresienwiese and are well worth a visit.
The Hall of Fame and Bavaria form on the Theresien height an ensemble in style of the ancient Acropolis in Athens, which was commissioned by King Ludwig I there. Together with his architect Leo von Klenze King Ludwig I shaped the cityscape of Munich like no other. He was a friend of the monasteries and the academic spirit, and he turned his attention to painting and poetry.
As crown prince Ludwig after the death of his father in 1825 took over the throne of Bavaria he was already dreaming of his "Athens on the Isar" with monumental squares and buildings. Whereas his childhood and youth was influenced by the French Revolution and the subsequent Napoleonic wars, as crown prince he longed for a "Bavarian of all tribes" and a "bigger German nation." In this phase, Ludwig was planning a patriotic monument in the capital city of Munich and for this purpose he already in 1809 by historian Lorenz Westenrieder he had made a list of famous Bavarian representatives of all classes and professions. Approximately 20 years later this list was on his behalf by his Interior Minister Eduard von Schenk - in the meantime Ludwig was King of Bavaria - renewed and expanded.
For the tender for a Hall of Fame above the Theresienwiese with space for 200 busts King Ludwig I invited the best and most prestigious builders of those times:
Friedrich von Gärtner,
Leo von Klenze,
Joseph Daniel Ohlmüller and
Georg Friedrich Ziebland.
Hall of Fame after the scetch of Leo von Klenze
Design by Leo von Klenze
As the court master builder of that time of the king, Leo von Klenze had significant advantages because he on the one hand with the wishes of his client was very familiar and on the other hand also could examine the designs of its competitors in detail. Therefore, it is not surprising that the design of Klenze won the tender of the Hall of Fame in March 1834. He planned the Hall of Fame with a Doric portico in the background and a colossal statue in the foreground.
The construction of the Hall of Fame in the years 1843-1853 actually took place according to the planning of Klenze. After completion of the Hall of Fame, in 1853 the busts of 74 especially venerable Bavarians were set up, in 1868 another 10 were added. The bust of King Ludwig I was only in 1888 in the Hall of Fame erected to commemorate his 100th birthday and supplemented with the following inscription:
"To King Ludwig I to celebrate his 100th birthday, the grateful Munich."
The Hall of Fame itself is 68 meters long, 32 meters wide and stands on a 4.3 meter high pedestal. The roof is supported by the back wall and 48 Doric columns that have a height of about 7 meters and a diameter of 1.25 meters.
Since the Hall of Fame and the in it set up busts in 1944 during an air raid in WW2 were severely damaged, it was not until 1966 when the Bavarian Council of Ministers decided the reconstruction of the Hall of Fame and the continuation of honouring of Bavarian personalities by setting up of their busts. The renovation was completed in 1972 and the Hall of Fame on 26 October 1972 with the preserved and renovated busts could be reopened.
For the selection of the personalities the Bavarian Council of Ministers is responsible, which is advised by a committee of experts from the Bavarian Ministry of Culture, the Bavarian Academy of Fine Arts, the Bavarian Academy of Sciences, the Bavarian Palace Department, the House of Bavarian History, the Bavarian Ministry of Finance and the LMU (Ludwig Maximilian University).
Bavaria © 2009 Bavaria
The colossal statue of Bavaria forms an artistic unity with the Hall of Fame in the background. The first sketches of Bavaria von Klenze already in his design of the whole ensemble on the model of ancient colossal statues of antiquity had produced. It was modeled after the Colossus of Rhodes, the statue of Zeus of Phidias and especially the Athena Parthenos. Theoretically, it is even possible that a part of the bronze for the Bavaria was once part of the Colossus of Rhodes. After Klenze was awarded the contract for the construction of the ensemble consisting of Hall of Fame and Bavaria, he made more sketches on the Greek model.
Since the statue should be cast according to both of Klenze`s ideas and Ludwig`s wishes in bronze, he included the sculptor Ludwig Schwanthaler, the ore caster Johann Baptist Stiglmaier as well as whose nephew Ferdinand von Miller in the further design and manufacture of the Bavaria statue. While Schwanthaler with his first sketches still held to the classical model in the sense of Klenze, he gave the statue in the further course of his designs increasingly a "Germanic" appearance with typical "German" character. The head and the raised hand he adorned with a wreath of oak and at her side appeared the drawn sword as a sign of her ability to defend herself. At her feet placed Schwanthaler a lion, that always have served as heraldic animal of the Wittelsbach.
The manufacturing of the final designs for the Bavaria statue followed in the years 1839 to 1843. Schwanthaler however the beginning of the foundry did not live because he shortly before that died in April 1844. As first thing, the head of Bavaria was cast in September 1844, in January and March 1845 followed the arms, on 11 October 1845, the breast piece. The last major casting for the bottom part took place on 1 December 1849. The erection and unveiling of Bavaria occurred during Oktoberfest (Munich Beer Festival) 1850. The cost for the production of the statue Ludwig after his abdication as king of Bavaria on 20 March 1848 largely paid from private sources. A special feature of Bavaria is the spiral staircase in its interior, where you can climb up into her head to enjoy from there an incomparable view of the Oktoberfest.
bavarianspaces.de/veranstaltungen/oktoberfest/ruhmeshalle code ...
Hall of Fame and Bavaria at the Theresienwiese
The Hall of Fame and Bavaria form the most famous landmarks on the edge of the Theresienwiese and are well worth a visit.
The Hall of Fame and Bavaria form on the Theresien height an ensemble in style of the ancient Acropolis in Athens, which was commissioned by King Ludwig I there. Together with his architect Leo von Klenze King Ludwig I shaped the cityscape of Munich like no other. He was a friend of the monasteries and the academic spirit, and he turned his attention to painting and poetry.
As crown prince Ludwig after the death of his father in 1825 took over the throne of Bavaria he was already dreaming of his "Athens on the Isar" with monumental squares and buildings. Whereas his childhood and youth was influenced by the French Revolution and the subsequent Napoleonic wars, as crown prince he longed for a "Bavarian of all tribes" and a "bigger German nation." In this phase, Ludwig was planning a patriotic monument in the capital city of Munich and for this purpose he already in 1809 by historian Lorenz Westenrieder he had made a list of famous Bavarian representatives of all classes and professions. Approximately 20 years later this list was on his behalf by his Interior Minister Eduard von Schenk - in the meantime Ludwig was King of Bavaria - renewed and expanded.
For the tender for a Hall of Fame above the Theresienwiese with space for 200 busts King Ludwig I invited the best and most prestigious builders of those times:
Friedrich von Gärtner,
Leo von Klenze,
Joseph Daniel Ohlmüller and
Georg Friedrich Ziebland.
Hall of Fame after the scetch of Leo von Klenze
Design by Leo von Klenze
As the court master builder of that time of the king, Leo von Klenze had significant advantages because he on the one hand with the wishes of his client was very familiar and on the other hand also could examine the designs of its competitors in detail. Therefore, it is not surprising that the design of Klenze won the tender of the Hall of Fame in March 1834. He planned the Hall of Fame with a Doric portico in the background and a colossal statue in the foreground.
The construction of the Hall of Fame in the years 1843-1853 actually took place according to the planning of Klenze. After completion of the Hall of Fame, in 1853 the busts of 74 especially venerable Bavarians were set up, in 1868 another 10 were added. The bust of King Ludwig I was only in 1888 in the Hall of Fame erected to commemorate his 100th birthday and supplemented with the following inscription:
"To King Ludwig I to celebrate his 100th birthday, the grateful Munich."
The Hall of Fame itself is 68 meters long, 32 meters wide and stands on a 4.3 meter high pedestal. The roof is supported by the back wall and 48 Doric columns that have a height of about 7 meters and a diameter of 1.25 meters.
Since the Hall of Fame and the in it set up busts in 1944 during an air raid in WW2 were severely damaged, it was not until 1966 when the Bavarian Council of Ministers decided the reconstruction of the Hall of Fame and the continuation of honouring of Bavarian personalities by setting up of their busts. The renovation was completed in 1972 and the Hall of Fame on 26 October 1972 with the preserved and renovated busts could be reopened.
For the selection of the personalities the Bavarian Council of Ministers is responsible, which is advised by a committee of experts from the Bavarian Ministry of Culture, the Bavarian Academy of Fine Arts, the Bavarian Academy of Sciences, the Bavarian Palace Department, the House of Bavarian History, the Bavarian Ministry of Finance and the LMU (Ludwig Maximilian University).
Bavaria © 2009 Bavaria
The colossal statue of Bavaria forms an artistic unity with the Hall of Fame in the background. The first sketches of Bavaria von Klenze already in his design of the whole ensemble on the model of ancient colossal statues of antiquity had produced. It was modeled after the Colossus of Rhodes, the statue of Zeus of Phidias and especially the Athena Parthenos. Theoretically, it is even possible that a part of the bronze for the Bavaria was once part of the Colossus of Rhodes. After Klenze was awarded the contract for the construction of the ensemble consisting of Hall of Fame and Bavaria, he made more sketches on the Greek model.
Since the statue should be cast according to both of Klenze`s ideas and Ludwig`s wishes in bronze, he included the sculptor Ludwig Schwanthaler, the ore caster Johann Baptist Stiglmaier as well as whose nephew Ferdinand von Miller in the further design and manufacture of the Bavaria statue. While Schwanthaler with his first sketches still held to the classical model in the sense of Klenze, he gave the statue in the further course of his designs increasingly a "Germanic" appearance with typical "German" character. The head and the raised hand he adorned with a wreath of oak and at her side appeared the drawn sword as a sign of her ability to defend herself. At her feet placed Schwanthaler a lion, that always have served as heraldic animal of the Wittelsbach.
The manufacturing of the final designs for the Bavaria statue followed in the years 1839 to 1843. Schwanthaler however the beginning of the foundry did not live because he shortly before that died in April 1844. As first thing, the head of Bavaria was cast in September 1844, in January and March 1845 followed the arms, on 11 October 1845, the breast piece. The last major casting for the bottom part took place on 1 December 1849. The erection and unveiling of Bavaria occurred during Oktoberfest (Munich Beer Festival) 1850. The cost for the production of the statue Ludwig after his abdication as king of Bavaria on 20 March 1848 largely paid from private sources. A special feature of Bavaria is the spiral staircase in its interior, where you can climb up into her head to enjoy from there an incomparable view of the Oktoberfest.
bavarianspaces.de/veranstaltungen/oktoberfest/ruhmeshalle code ...
The Screens
The screens are built solidly of marble from Siena, Italy, which encloses in its rich black veining almost every variety of yellow, from cream-colored to dark topaz. Like the peers, the screens are erected upon the Tennessee marble base, in this case however, very much lower—four feet to the other’s eleven. The arcading of the screens is into stories, the first of the three and the second of seven arches. At the top of each screen the gallery is railed in by a heavy balustrade—still of the same Siena marble—connected with which are two marble pedestals that bear bronze statues of illustrious men. The screens are alike on every side of the octagon but two, the west and the east—the former the entrance from the Great Hall, and the latter affording a way through to the east side of the building. In both instances, therefore, the central arch is accentuated by freestanding columns. In the second story of the west screen, also, still another modification has been made to allow space for a large clock—the three middle arches giving place to a rich architectural setting ornamented with bronze statuary.
The Lighting of the Main Reading Room
The soffits of the arches upholding the dome are ornamented with a row of plane coffers; the larger arches that roof the alcoves within carry a triple row of more elaborate coffers, each with a gilt rosette. The windows of stained-glass, already spoken of as enclosed by these arches, semicircular inform and measure thirty-two feet across at the base. They furnished the greater part of the light needed for the illumination of the room. No shadows are cast in any direction. Being so high above the floor, the light from them is much more effective than if they were nearer the level of the reader’s eye. They are better even than skylights, and with none of the disadvantages of skylights. Other sources of light are the various little windows pierced in the four walls of the octagon which face the interior courts; and, above, the eight windows of the lantern. It has been said that no reading room and the world is so well lighted—so steadily, abundantly, uniformly, whether on the brightest or the darkest day. Edwin Howland Blashfield’s paintings in the dome, for example, can hardly be said to receive direct light from a single window in the room, but for all that, so perfectly slight diffused, they are as easily made out as any decorations in the building.
The Semicircular Windows
It is calculated that, but putting stained-glass in the eight semicircular Windows, the amount of light admitted has been diminished almost exactly one eighth; in other words, the result is the same as if one of the eight had been quite closed.
The cartoons for the stained-glass were made by Herman T. Schladermundt, after designs prepared by the architect, Edward Pearce Casey. The ground is a crackled white, leaded throughout into small, square panes. To give an effective boldness and strength, the windows are divided vertically by heavy iron bars. The design is surrounded by a richly colored border of laurel, combined with rosettes and Roman fasces. At the top, in the middle of each window, is the great seal of the United States, four feet high, surmounted by the American Eagle, whose outstretched wings measure eight feet from tip to tip. To the right and left, following the curve of the window, are the seals of the states and territories, three on the side, or six in each window, so that forty-eight—excluding only Alaska and the Indian Territory (Alaska became a state in 1959, and the Indian Territory, along with the territory of Oklahoma, became the state of Oklahoma in 1907)—are contained in the eight windows. Torches alternate with the seals, and the fasces are introduced at the bottom.
The name of the state or territory is inscribed above each seal, with the date of the year in which it was admitted to the union or organized under a territorial form of government. The seals occur in the order of their dates, the series beginning with the 13 original states—which started the easterly window in the order in which they signed the Constitution—and continuing around the room to three territories of New Mexico, Arizona, and Oklahoma. (They did not achieve statehood until 1912, 1912, and 1907, respectively.) Taken all in all, they form one of the most interesting decorations in the library, since the artist has succeeded in making a harmonious whole out of a very heterogeneous collection of designs. The originals, of course, were separately drawn, often by persons unacquainted with heraldry and never with any thought of fitting them into a single series like the present one. The result is that these originals show the greatest diversity of treatment. The key, so to speak, is continually changing. Sometimes, for example, a figure introduced in the foreground the store by an altogether disproportionate background, while in other cases the figure overpowers everything else. Had they been copied exactly, any heraldic or artistic unity of effect would be entirely lacking. Accordingly, after getting together a complete collection of the seals—in every instance in authentic impression of the original obtained from the state secretary—Schladermundt redrew, and often almost redesigned, is material to bring it into accordance with his decorative scheme. In many cases, particularly in the seals 13 original states, the original has hardly been changed at all. Indeed, in the seal of the state of Washington, which consists merely of a portrait of Washington himself, Schladermundt has unobtrusively added the Washington arms in the upper corner of the design in order to suggest the desirable heraldic conventionality more fully; occasionally, too, it has been necessary to omit certain minor details as being unsuited to the breadth of treatment necessary and stained-glass, but as a rule, Schladermundt has followed very carefully the specifications contained in the authoritative legislative enactments.