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 ...

by tj_ill ift.tt/25vI5Fx

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 ...

via Instagram www.instagram.com/p/BHdKqs9Afkv/

The Postcard

A postally unused carte postale published by L. Caron of Amiens.

It bears a pre-WW1 high-definition image of Amiens Cathedral.

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 three billion table tennis balls, or 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, and the curved central entrance arch is over 50 feet (15.24m) 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 (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.

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".

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.

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 postally unused carte postale which was published by Lévy Fils et Cie of Paris.

The sandbags were obviously stacked there to mitigate damage caused by high-explosive artillery shells falling through the roof and exploding on impact.

Visé Paris 267

The card bears the imprimatur 'Visé Paris' followed by a unique reference number. This means that the image was inspected and deemed by the military authorities in the French capital not to be a security risk.

'Visé Paris' indicates that the card was published during or soon after the Great War.

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, and the curved central entrance arch is over 50 feet (15.24m) 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 (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.

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".

#artsupporting #modernartist #sketches #pencilart #pencilartist #sketching #realisticart #stilllife #arty #arthubs #artoftheday #artopia_world #tablelamp #artpublicity #beyondrealistic #arts_funds #artistic_today #iartpost #charmingart #stilllifeart #artistic_unity_ #artistic_dome #artistuniversity #photooftheday #artist_4_shoutout #stilllifeartwork #arte #artsanity #blvart #art_spotlight

Theresienhöhe 16

Ruhmeshalle. Dreiflügelige, dorische Ruhmeshalle mit Büsten verdienter Bayern, 1843–53 von Leo von Klenze. Die umgebenden gärtnerischen Anlagen zur originalen Konzeption gehörig. D-1-62-000-6858

de.wikipedia.org/wiki/Liste_der_Baudenkm%C3%A4ler_in_der_...

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 ...

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 postally unused carte postale bearing an early close-up image of the top and base of a column of the choir stalls in Amiens Cathedral.

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, and the curved central entrance arch is over 50 feet (15.24m) 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 (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".

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 ...

Het gebouw behoort tot de belangrijkste ontwerpen van stadsarchitect ir. C.B. Van der Tak.

---

Amsterdamse School

The Amsterdam School (Dutch: Amsterdamse School) is a style of architecture that arose from 1910 through about 1930 in the Netherlands. The Amsterdam School movement is part of international Expressionist architecture, sometimes linked to German Brick Expressionism.

Buildings of the Amsterdam School are characterized by brick construction with complicated masonry with a rounded or organic appearance, relatively traditional massing, and the integration of an elaborate scheme of building elements inside and out: decorative masonry, art glass, wrought ironwork, spires or "ladder" windows (with horizontal bars), and integrated architectural sculpture. The aim was to create a total architectural experience, interior and exterior.

Imbued with socialist ideals, the Amsterdam School style was often applied to working-class housing estates, local institutions and schools. For many Dutch towns Hendrik Berlage designed the new urban schemes, while the architects of the Amsterdam School were responsible for the buildings. With regard to the architectural style, Michel de Klerk had a different vision than Berlage. In the magazine "Bouwkundig Weekblad 45/1916" Michel de Klerk criticized Berlage's recent buildings in the style of Dutch Traditionalism. In this context, the Stock Exchange by Berlage of 1905 can be seen as the starting point of Traditionalist architecture. From 1920 to 1930 different parallel movements developed in the Netherlands:

The Expressionist architecture of the Amsterdam School was the most successful style of the 1920s. For many foreign architects, Amsterdam was the "Mecca" for new town extensions. But the Traditionalist movement lasted longer, until the 1950s, thanks to the so-called Delft School, represented by Martinus Grampré Molière at the Delft University of Technology. In the 1960s the Rationalist movement was dominant. In a well-known speech, the Dutch Rationalist, Willem van Tijen declared the Amsterdam School a warning example for architects (published in Forum 9/1960-61). After the death of Piet Kramer in 1961, no architectural institution or museum was interested in his Expressionist work. For that reason, all his drawings, blueprints and models were burnt.

Origins of the Amsterdam School

The Amsterdam School had its origins in the office of architect Eduard Cuypers in Amsterdam. Although Cuypers was not a progressive architect himself, he gave his employees plenty of opportunity to develop. The three leaders of the Amsterdam School Michel de Klerk, Johan van der Mey and Piet Kramer all worked for Cuypers until about 1910. In 1905 Amsterdam was the first city to establish a building code, and the city hired Johan van der Mey afterwards, in the special position as "Aesthetic Advisor", to bring artistic unity and vision to its built environment.

Van der Mey's major commission, the 1912 cooperative-commercial Scheepvaarthuis (Shipping House), is considered the starting point of the movement, and the three of them collaborated on that building. The most Amsterdam School buildings are found in this city. The movement and its followers played an important role in Berlage's overall plans for the expansion of Amsterdam.

The most important architects and virtuoso artists of the Amsterdam School were Michel de Klerk and Piet Kramer. Other members included Jan Gratama (who gave it its name), Berend Tobia Boeyinga, P. H. Endt, H. Th. Wijdeveld, J. F. Staal, C. J. Blaauw, and P. L. Marnette. The journal Wendingen ("Windings" or "Changes"), published between 1918 and 1931, was the magazine of the Amsterdam School movement.

After De Klerk died in 1923, the style lost its importance. The De Bijenkorf Store in the Hague by Piet Kramer from 1926 is considered to be the last example of "classic" Amsterdam School Expressionism.

The influence of the Amsterdam School continued in the Dutch East Indies, where one of its leading proponents was the pioneering Indonesian architect Liem Bwan Tjie.

Interior design

The Amsterdam School style spread beyond architecture to encompass interior design, with the result that items ranging from furniture and carpets to lamps and clocks were produced. Interest revived in the 1970s as well as at the beginning of the 21st century (Wikipedia)

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 ...

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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The Postcard

A carte postale published by Neurdein et Cie of Paris.

It was posted via the Army Post Office on Wednesday the 8th. August 1917. On the back there is a signed red elliptical censor's stamp numbered 3044.

The card was sent to:

Mrs. Charles Constable,

27 Meadow Road,

Tonbridge,

Kent,

England.

The brief message on the back of the card was as follows:

"France Tuesday 7.8.17.

Dear E,

Was in here yesterday.

Love Charlie".

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 900,000 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".

The Torpedoing of HMS Dunraven

So what else happened on the day that the card was posted?

Well, on the 8th. August 1917, the Royal Navy vessel HMS Dunraven was torpedoed and shelled in the Bay of Biscay by German submarine SM UC-71, killing one crew member.

Survivors were rescued by another Royal Navy vessel before Dunraven sank two days later.

The Sinking of an American Schooner

Also on that day, American schooner George A. Marsh sank during a storm on Lake Ontario with the loss of 12 lives, including those of seven children.

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.

A postally unused carte postale published by Lévy et Neurdein Réunis, 44, Rue Letellier, Paris.

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 900,000 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.

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 (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".

The Postcard

A postally unused carte postale published by E. Régnaut.

On the back of the card is printed:

'Cathédrale d'Amiens.

Stalles du Choeur (1508-1519).

La robe de Joseph présentée

a Jacob (Détail)'

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, and the curved central entrance arch is over 50 feet (15.24m) 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 (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".

The Postcard

A carte postale published by L. Caron of Amiens.

The card was posted in Amiens on Monday the 3rd. October 1904 to:

Miss S.E. Burgess,

Church Square,

West Hartlepool,

Angleterre.

The message side of the divided back was left blank.

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 three billion table tennis balls, or 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".

The 1904 Fatal Welsh Railway Crash

So what else happened on the day that the card was posted?

Well, on the 3rd. October 1904, there was a serious railway accident at Llanelli - Loughor in Wales.

A train, operated by Great Western Railway, derailed killing 5 people and injuring 94.

Although the accident investigation could not establish a Primary Cause, Secondary Causes were deemed to be excessive speed, poor rolling stock stability, and an inadequate speed limit.

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#drawing #draw #sketch #art #artist #arte #artoftheday #artistic #artsy #illustration #photooftheday #vsco #painting #instaart #instaartist #worldofpencils #instalike #talnts #talented #art_spotlight #arts_gallery #worldofartists #nawden #artfido #artcollective #vscocam #sketching #dibujo by @artistic_exposure_ bit.ly/1X9XHGD

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Théopompe (en grec ancien Θεόπομπος / Theópompos), né à Chios v. 378, est un historien grec.

Il fut l'élève d'Isocrate. Sa famille fut contrainte de quitter la cité en raison de la préférence affichée de son père pour Sparte. Il se fit orateur et remporta de nombreux succès. En particulier, il remporta le premier prix du concours organisé par Artémise II, reine de Carie, en l'honneur de feu Mausole son époux. Il rencontra Alexandre le Grand, dont la faveur lui permit de regagner sa cité natale. À la mort de ce dernier, il fut contraint une nouvelle fois de fuir en raison de ses sympathies pour Sparte. Il se réfugia d'abord à Alexandrie auprès de Ptolémée Ier, mais l'accueil plus que réservé qu'il rencontra le mit de nouveau sur la route. Nous ne savons rien de sa carrière ultérieure.

Il fut de son temps très apprécié pour ses qualités d'orateur. Il rédigea de nombreux discours, essentiellement des panégyriques. Son œuvre essentielle, néanmoins, est historique. Ses Helléniques (Ἑλληνικαὶ Ἱστορίαι / Hellênikaì Historíai), en douze volumes, continuent l'ouvrage de Thucydide. Elles couvrent la période allant de 411 à 394. Ses Philippiques (Φιλιππικά / Philippiká) en 58 volumes décrivent la vie et le règne de Philippe II de Macédoine. Ses œuvres historiques furent très influencées par la technique rhétorique qui surchargeaient le cours du récit, notamment par l'usage de nombreuses digressions morales et géographiques, et l'emploi de nombreux discours reconstitués.

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A far more elaborate work was the history of Philip's reign (360‑336), with digressions on the names and customs of the various races and countries of which he had occasion to speak, which were so numerous that Philip V of Macedon reduced the bulk of the history from 58 to 16 books by cutting out those parts which had no connection with Macedonia. It was from this history that Trogus Pompeius (of whose Historiae Philippicae we possess the epitome by Justin) derived much of his material. Fifty-three books were extant in the time of Photius (9th century), who read them, and has left us an epitome of the 12th book. Several fragments, chiefly anecdotes and strictures of various kinds upon the character of nations and individuals, are preserved by Athenaeus, Plutarch and others. Of the Letter to Alexander we possess one or two fragments cited by Athenaeus, criticizing severely the immorality and dissipations of Harpalus.

The artistic unity of his work suffered severely from the frequent and lengthy digressions, of which the most important was On the Athenian Demagogues in the 10th book of the Philippica, containing a bitter attack on many of the chief Athenian statesmen, and generally recognized as having been freely used by Plutarch in several of the Lives.

Another fault of Theopompus was his excessive fondness for romantic and incredible stories; a collection of some of these was afterwards made and published under his name. He was also severely blamed in antiquity for his censoriousness, and throughout his fragments no feature is more striking than this. On the whole, however, he appears to have been fairly impartial. Philip himself he censures severely for drunkenness and immorality, while Demosthenes receives his warm praise.

(Wikipedia)

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Goodmorning👋! I know it’s not Thursday, but i feel like posting some of my favorite past sketches. I hope that i can bring some type of flavor to your timeline!🎨 #art_collective#artofdrawingg#art#artist#artistsoninstagram#art_spotlight#arts_help#art_empire#artistic_unity_#artistic_share#penandink#micron#blackandwhite#sketch#sketchbook#sketchdaily#portrait#blackworkers_tattoo#blackwomen#artsplug#artsy#art_spy#dailyarts#worldofartists#worldofpens#bestartfeatures#justartinspiration

by @callmesense on Instagram.

The Postcard

A carte postale bearing no publisher's name.

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.

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.