WIESBADEN, DUCHY OF NASSAU, _June 20, 1855_.
From Ratisbon, I went to the famous Walhalla Temple, occupying the
summit of a rocky cliff upon the banks of the Danube, about two hours’
ride from that city, composed entirely of marble, stone, and metal, and
of which I must attempt a feeble description.
It seems that the artist ex-king, Ludwig, as early as 1807, when
crown-prince, and while Germany was bowed down under French despotism,
conceived the design of erecting a monument to the memory of the
meritorious sons of the Fatherland. As early as 1821, German sculptors
had already prepared a portion of the busts, when the preparatory
ground-work was commenced, and on the anniversary-day of the battle
of Leipsic, 18th of October, 1830, Ludwig, then king, laid the
foundation-stone, and which he opened complete in 1842; the cost of
which is reported, but probably incorrect, as I notice an article
in a public journal, saying that during his reign forty millions of
guilders, say seventeen millions of dollars, were expended in the fine
arts, and constructing and beautifying churches, palaces, and temples.
A considerable portion is represented as out of his private purse.
The majestic Walhalla stands three hundred feet above the water level,
and the ascent is effected by double flights of broad marble steps,
three hundred and fifty in number, uniting upon wide platforms, and
then recommencing in like manner until the height is reached, giving
a magnificent view of the river and surrounding country, as also a
front view of the edifice. The terrace wall is built of many-cornered
cyclopean blocks of stone, and from the second division corresponds
with the underground foundation of the building, nearly one hundred
feet in depth. The length of the wall from this platform, from north
to south, is four hundred and eighty-three feet, and width two hundred
and eighty-eight feet. The temple, bearing some resemblance to the
ancient Parthenon at Athens, is two hundred and thirty feet in length,
one hundred and eighteen feet in width, and sixty-four feet in height.
It has seventeen marble columns on each side, and eight each, front and
rear, thirty-one feet high, and six feet in diameter.
The gable pediments contain the splendid marble sculpture work of
Schwanthaler, each group comprising fifteen figures. The one at the
north occupied that artist eight years. The colossal form of the
national hero, Herman, ten feet high, forms the centre of the group
in the final struggle with the Romans, whose leader has struck his
sword in his own breast to avoid the sight of the overthrow of his
legions. From the time of Roman and Greek antiquity, perhaps, so large
a gable-group has not been seen, being seventy-two feet in length.
The inside is one hundred and sixty-eight feet by forty-eight, and
fifty-three feet to the roof, and may be considered a rare gem. The
floor is of polished white, yellow, and black marble mosaic; one draws
on felt overshoes to slip and slide over the surface. The roof is of
gilded bronze plates, with three plate-glass windows to admit the
light, the crossbeams of sky blue, and stars of gold, with full-sized
figures of gods and heroes. The various polished marble sides contain
tablets and busts of one hundred and sixty of the most renowned and
distinguished Germans. The different divisions are protected by six
figures of Victory, in white Carrara marble; these female forms, with
extended wings, are the work of the celebrated Rauch, at Berlin. The
bas-reliefs, executed in Rome, of the same material, extend entirely
around the hall, two hundred and ninety-two feet in length, in eight
divisions, and mark the history of the German race, settlement of the
country, conquests, arts, religion, knowledge, &c.
From Ratisbon, twelve hours by mail coach brings one to the old city of
Nuremburg, the most antique in Germany. Its former population, ninety
thousand, now counts fifty-two thousand; it is surrounded by a wall
forty feet high, upon which are seventy-two towers and bastions; the
four towers of the principal gates are built in the form of cannons.
Its cathedral and churches are remarkable for their old illuminated
glass windows, woodcarving of the altars, and life of Christ, by the
renowned artists Veit, Stoss, and Adam Kraft; also paintings from the
original school of Albert Durer and his master, as early as 1485. A
remarkable old cemetery contains the tombs of the artists named. The
venerable château, erected in the tenth century, recently fitted up for
the royal family, who are soon expected, is worth a visit, not only
for the view, but its contents. In the courtyard is a large linden
tree, seven hundred years old. The city hall, built in the sixteenth
century, is a fine structure, and contains remarkable stucco-work
of that period, and paintings of Albert Durer, particularly the
triumphal procession of the Emperor Maximilian I. The bridges over
the stream which runs through the city, the fountains, monuments, and
style of architecture of the old town, generally interest travellers.
Nine hours by rail transports one, via Bamburg and Würzburg,
through an interesting and varied country, to the free city of
Frankfort-upon-the-Main. Being on my way to this favorite resort for a
rest, and the use of the waters, I tarried but little on the Rhine, and
as these points are as familiar as old acquaintances, nothing strikes
one as new. Wiesbaden I find on each repeated visit much improved; the
usual concourse of guests is from fifteen thousand to twenty thousand
annually; its position on the slope of the Taunus hills, gives it the
beautiful valleys that surround it, and the advantage of healthful and
recreating excursions to the mountains.
I shall remain here a few days longer, then make my way to Paris, for
the Exhibition, after which I may conclude to take steamer to my own
Vaterland.
1856.