And to the right, green and turf and a view across the Bavarian plain. On a fine day the view is one to arrest the attention, while the grand building with its columned exterior is so satisfying to the eye, that we may well feel inclined to linger about before entering the great hall. Approaching from the back, we pass under the arcade of columns to the front, where massy tiers of steps lead down the hill to the river.

From the front here is a magnificent view if kindly weather prevails—its extent could be gauged even on such a grey wet day as that on which I visited it. The building stands three hundred and fifteen feet above the river—not in itself a great height—but the southern bank is the beginning of a great far-stretching plain, and it is said that, in the most favourable climatic conditions (which so rarely obtain in such cases) the distant Alps can be seen. Even if it fall short of that, the view is sufficiently extensive across the plain, back to Ratisbon and down the winding stream, island-divided, towards Straubing.

Before entering this Temple of Fame—more impressive than that imagined by Pope—it may be mentioned that the building was founded for the purpose which its name sufficiently attests, by Ludwig the First of Bavaria, owing to the great pleasure which he had had when studying at Jena in the society of Goethe. It is said that he then declared that if he ever succeeded to the throne he would erect a building which should serve as a Temple of Fame for the whole of Germany. Nobly did he fulfil that promise. The architect was Leo von Klenze; the first stone was laid on October 18, by King Ludwig; and on the same date, twelve years later, the temple was solemnly dedicated by his Majesty, who said: “May the Walhalla contribute to extend and consolidate the feelings of German nationality. May all Germans of every race henceforth feel they have a common country of which they may be proud, and let each individual labour according to his faculties to promote its glory.” It had cost about two hundred thousand pounds, and thus honouring the great men of the German lands, the Bavarian king gained lasting honour for himself, for the building is one as perfect in taste as it is in form, to use the words of an early visitor. It is true that there have not been wanting critics who have objected to the incongruity of building a temple after a Greek plan to the honour of great Teutons and then naming it the Walhalla, but the objection is really an unimportant one, and we may well be satisfied with having a beautiful edifice dedicated to a beautiful purpose: we may remind the critics, too, that “the Doric order was peculiarly sacred to heroes and worthies.” Entering, we find ourselves in a grand and impressive hall:

The interior is a magnificent hall—of nearly the same dimensions as the Parthenon—with walls of ruddy-tinted marble; the floor of marble mosaic; the roof, brilliant blue and star-spangled, strikes a note a little out of keeping with the general severity of the rest. There are sculptured Victories and Valkyries, and a frieze representing, in sculptured relief by Martin Wagner, something of the history of the German race before the coming of Christianity, while high around the walls are a series of marble tablets bearing the names of those worthy a place in the Temple of German Fame, but of whom no authentic portraits have come down to us. Indeed, even those of great achievement, whose names have not come down to us are not forgotten, for three of these tablets commemorate the author of the “Nibelungen Lied,” and the builder of Cologne cathedral. Other tablets serve to remind us that Tennyson but stated a truth when in compliment to Queen Alexandra he said, “Saxon, Norman and Dane are we,” for here among the heroes of the Germanic Temple of Fame, we shall find the names of King Egbert, of Alfred the Great, of Hengist and Horsa, even that of the Venerable Bede. At the further end of the hall is a seated statue of King Ludwig, and ranged along the walls are more than a hundred busts, many of them very fine examples of modern sculpture. The latest addition, Von Moltke (added in 1909), is particularly good. The bust of Bismarck, which was placed in Walhalla in 1908, on the sixty-sixth anniversary of the opening, is also admirable. There is about the whole so much excellence as to suggest that the Temple in addition to fostering national feeling should prove an encouragement of the sculptor’s art, for next to the honour of winning a place in the Walhalla must be the distinction of contributing to the work there permanently placed.

From the programme which I picked up in the “oaken wood” at the back of the building two years after the event, we may gather from the ceremonies at a students’ “homage” paid to Bismarck here, a few days after the bust was placed in position, some idea of the ceremony, which presumably attends the dedication of a new entrant among the “Walhalla comrades.” The programme runs as follows:

HOMAGE

Of the Society of German students before the bust of

Prince Bismark

in the Walhalla
on the 7th November, 1908, at 4 in the afternoon.

Programme

Coronation March from the Opera, “Die Folkunger,”
by F. Kretschmar, for string quintet and harp.

Entry of the Deputation.

The “Bismarck Hymn,” written by Dr. Raimund Geister,
composed by Georg Meyer.

Sung by the “Regensburger Liederkranz” under the leadership of
their choirmaster Herr G. Meyer.

Dedicatory Address

delivered by Professor Sponsel, President of the Union of all
Student Societies.

“Keep watch, it’s nearly day,” from “The Meistersinger of
Nuremburg” by Richard Wagner, for string quintet and harp.

Exit of the Deputation.

The music by the Band of the Royal Bavarian 11th Regiment under the direction of the Conductor, Herr Kleiber. Harp: Fraulein Langhammer of the Municipal Theatre Orchestra.

THE BISMARCK HYMN[4]

Written by Dr. Raimund Geister, composed by Georg Meyer.

Later the company joined in singing the national song, “Deutschland, Deutschland, über Alles.”

Before turning from the beautiful temple of honour, the statuary groups on the northern and southern pediments should be examined. That on the north end represents Armin (or Herman) with his Germans fighting the Romans, while that on the south, symbolizing the regaining of German liberty after the battle of Leipzig in 1813, shows “Germania” seated and attended by male and female figures representing the Germanic states and the rivers Rhine and Moselle.

Beautiful as is the view from the front of the Walhalla, it must be said that the place is more impressive if approached from the back than by the great flights of massy stone steps which occupy a goodly part of the hillside from the front. The extent and arrangement of these in alternate twin flights, now bifurcating and now meeting, detract somewhat from the impressiveness of the whole as seen from the river front. But the whole thing represents a grand idea grandly realized, and it is easy to believe that from whatever part of the German empire visitors come, they realize here the unity of their race and the greatness of their destiny. To render boldly a few anonymous lines quoted in the “Beschreibung der Walhalla”—the little souvenir guide to be bought there—