Day 2 in Munich

Today began with an amazing breakfast the hotel. I loved the expression on Taylor Perkins' face when he realized he could eat as much as he wanted of the fruit, cereal, bread, salmon, eggs, bacon, sausage, etc. I think he went back for thirds. All of the students (especially the guys) are enjoying getting much of their food at the free hotel breakfast.

We then left the hotel to vist the Deutsches Museum (German Museum of Masterpieces of Science and Technology). Honestly, not my thing, but many of our science majors found it outstanding.
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Then we split up into student-led tours. Marko Bajic and Cara Vandergiff led a tour entitled "Ludwig I, Maximilian II, and 19th-Century Architecture and Urban Design" I have provided information from their tour below:

The architecture in Munich is rich with a history of three kings who were determined to make the heart of Germany one of the most artistically breathtaking places in all of Europe. The focus of this tour begins with King Ludwig I of Bavaria, this portion of the thread will be led by Cara Vandergriff and will span many sights along Ludwigstrasse. Ludwig I was a great admirer of classical antiquity, having absolutely hated the Napoleonic militarism of the years preceding his rule (he was made to serve in the Bavarian army under Napoleon). Therefore, he looked to develop Munich as a new city that could rise up as a pinnacle of the art and sciences. He welcomed to his court the best of Europe’s architects, painters, and sculptors. Before he became king, Ludwig had paid two significant visits to Italy, where he became inspired by the architecture of cities like Venice. Ludwig I abdicated in 1848 after his people began to view the geniuses they had admired in the youthful Ludwig as frivolous weaknesses and after an affair with controversial mistress Lola Montez. However, Ludwig left an undeniable mark on the city he loved so greatly. It is said that out of his personal royal purse he gave 30,000,000 marks to art and 20,000,000 marks to scientific, religious and charitable institutions. His contributions to Munich include: Alte Pinakothek, Neue Pinakothek, the Universitat, the Glyptothek, and the Propylaea. Ludwigstrasse particularly exhibits his dreams for Munich as it is a showcase of urban planning for the expansion to the North and West. Ludwigstrasse stretches between Felderrnhalle and Siegestor and is considered one of the most crucial streets of the 19th century.
The tour of Ludwigstrasse (Ludwig Street), which contains architectural sights such as Ludwig-Maximilians-Universistat which was constructed by Ludwig’s favorite architect Friedrich von Gartner and served as a place of congregation for Munich’s greatest thinker (Ludwig had the most famed scholars commemorated with ornate medallions, which can be seen on the first floor). Ludwigskirche was built by a passionate Ludwig who obtained funding from the Munich City council by threatening to relocet the Universistat. Another display of Gartner’s mastery, it houses the breathtaking “The Last Judgment” by Peter Cornelius. Felderrnhalle marks the Southern end of Ludwigstrasse and displays his love of Italian architecture because Gartner based it on the Loggia dei Lanzi next to Palazzo Vecchio in Florence. I also hope to address the general outlay of Odeonplatz and the prominent concert hall and ballroom, Bayerisches Staatsministerium des Innere, which now houses the Bavarian Ministry of the Interior. Bayerische Staatsbibliothek was the first monumental building on Ludwigstrasse. Its practical function as the State Library does not make its round arch window style and beautiful inner courts less of a unique treasure. Siegestor marks the northern most point of Ludwigstrasse and is a triple arched gateway that Gartner designed to look like the monumental arch of triumph, similar to Constantine’s in Rome.
The tour will also be led by Marko Bajic who will discuss the accomplishment of king’s son King Maximilian II of Bavaria, responsible for Bavarian National Museum and construction of Maximilianstrasse, and grandson King Ludwig II of Bavaria, responsible for the construction of three beautiful castles: Neuschwanstein, Linderhof, and Herenchiemse. While the beauty of enticing castles settled on hills in front of the snowy Alps seems enticing, this tour will be made up of a walking tour down two magnificent streets in Munich. A short walk from Ludwigstrasse is the Maximilianstrasse, Munich’s third great boulevard. Maximilian II was of a sterner disposition than his father. He preferred philosophical and scientific pursuits to the art and sculpting often patronized by his father. He believed in an “eveness of mind” and often read Roman works such as those my Marcus Arelius. On this tour will be the architectural design of King Maximilian II of Bavaria. Some of these sights are Residenz. The Royal residence of the Wittelbachs dates back to 1385. The subsequent editions over centuries showcase the layers of Munich, which have evolved over generations. Regierung von Oberbayern is the second most important structure on this street, after Maximilaneum. It is the Government Building of Upper Bavaria and was designed by Friedrich Burklein. We will also see the Antiquarium and the Staatliches Museum fur Volkerkunde, the state museum which chronicles Bavarian history through 142 amazing murals. Maximilianeum was constructed on the eastern bank of the Isar. It now holds the Bavarian Parliament and its terra cotta faced brick is crowned with mosaics.

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Another tour, entitled, "Munich: City of Faith" was led by Jessica Sherrill and Kent Dickson. Information on that tour is provided below:

Peterskirche – Peterskirche also goes by the names of “Saint Peter” and, most affectionately, “Alter Peter,” or “Old Peter.” The church is important to this thread both as a marker of the oldest establishment of Munich, and as an example of Romanesque architecture. If you visit, be sure to note Grasser’s altar. Grasser was an extraordinarily influential sculpture in Renaissance Munich, and the Peterskirche altar, the focal point of which is a large sculpture of the Apostle Peter, is one of the most elaborate Baroque pieces to be found in a Munich church. Also of note is the great clock tower. The entry fee for the tower is 1.50 Euros, and the only access to the top is a brisk walk up several flights of stairs, but I am told that the view from this large tower, situated atop one of the highest geographical points of Munich, is not to be missed. During your visit to Alter Peter, keep in mind its value to Munich’s religious history and be aware of the various architectural styles remaining from the church’s various renovations and reconstructions.

“Peterskirche,” Wikipedia:
“The Peterskirche close to Marienplatz is the oldest church of the inner city. It was first built during the Romanesque period, and was the focus of the early monastic settlement in Munich before the city's official foundation in 1158. By the 8th century a settlement of monks from the Tegernsee monastery had already been extablished on the Petersbergl. Under the church was a concave space which experts date to the pre-Merovingian period, or the early Middle Ages. Excavations in 1958 showed that by the 11th century, still before the founding of the city, the original small wooden church had been developed into a Romanesque church with a nave and two side aisles and two integrated west-towers. Whether this was typical of the Bavarian Monastery-churches of the Romanesque has not been proven. What can be shown, however, is that Otto I of Wittelsbach had the church extended in 1181 and this extended church was consecrated in 1190 by Bishop Otto II of Freising. A hundred years later, this building was torn down and replaced with a more ostentatious church. A substantially bigger church was not necessary, since the parish of the Frauenkirche (Church of Our Lady) was drawn up parallel to the newly-built church and in the centre of the district a new parish church was built. The new St Peter's church was consecrated on 17 May 1294 by Bishop Emicho of Freising.”

The interior is dominated by the high altar to which Erasmus Grasser contributed the figure of Saint Peter. Among other masterpieces of all periods are five Gothic paintings by Jan Polack and several altars by Ignaz Günther. The ceiling fresco byJohann Baptist Zimmermann (1753-1756) was re-created in 1999-2000.”


Mariensaule – The Marientplatz is geographically the next site on the tour, between the Peterskirche and the Fruaenkirche. However, visiting it requires a break in chronology. The Mariensaule, a statue of the Virgin Mary for which the Marienplatz is named, was built after the Michaelskirche. The two edifices are related in that the Mariensaule marked the end of the Thirty Years’ War, and the Michaelskirche the beginning. It is symbolically important in that it was built largely through efforts of the people of Munich and placed in the center of their city, denoting the centrality of their faith to their lives. The Mariensäule was erected by Maximilian I in 1638 to celebrate the end of the Protestant Swedish invasion and occupation of Munich during the Thirty Years’ War. The statue of Mary itself, which stands atop an ornate column was actually sculpted in 1590 by Hubert Gerhard, the same notable sculptor who crafted the equally famous statue of St. Michael which stands in the Michaelskirche. At each of the four corners surrounding the base of the column is a statue of a putto, designed and created by Ferdinand Murmann, which is characteristic of Renaissance and Baroque art. A putto is a childlike figure who is almost always male and frequently naked with wings. The four puttis are fighting four different creatures as a symbol of Munich overcoming war (lion), pestilence (basilisk), hunger and famine (dragon), and heresy (snake). This Marian statue is notable in that, demonstrating the unusual link between Munich and the Catholic church of Rome, it was the first column of its kind north of the Alps, and remained the only one of its kind in the area for decades, despite the proliferation of such columns in Southern Europe.

“Marienplatz,” Wikipedia:
“In Imperial Rome, it was the practice to erect a statue of the Emperor atop a column. The Christian practice of erecting a column topped with a statue of the Virgin Mary dates back at least to the 10th century but it became common especially in the Counter-Reformation period. The first column of this type north of the Alps was the Mariensäule built in Munich in 1638 to celebrate the sparing of the city from both the invading Swedish army and the plague. The Virgin Mary is standing on its top on a crescent moon as the Queen of Heaven. It inspired for example Marian columns in Prague and Vienna, but many others also followed very quickly. In the countries which used to belong to the Habsburg Monarchy (especially the Czech Republic, Austria, Slovakia, and Hungary) it is quite exceptional to find an old town square without such a column, usually located on the most prominent place.”

“St. Mary’s Square,” A View On Cities.com:
“Marienplatz is the heart of the city of Munich. In the Middle Ages, the square used to be a market place as well as the place where tournaments and festivities took place. In 1807 Marienplatz's market moved to the nearby Viktualienmarkt, but the square still continued to be the city's focal point. Important public events such as tournaments or executions were still held here.

The square was originally known as Schrannen but it was renamed Marienplatz (St. Mary's Square) as a way to ask Virgin Mary to protect the town from a cholera epidemic…The large column at the center of the square is known as the column of St. Mary. It was erected in 1638 to celebrate the end of the Swedish invasion. The statue is topped by a gilded statue of Virgin Mary which was sculpted earlier, in 1590 by Hubert Gerhard. At each corner of the column's pedestal is a statue of a putti, created by Ferdinand Murmann. The four putti's symbolize the city's overcoming of war, pestilence, hunger and heresy.”

Frauenkirche –
The Frauenkirche was originally built to replace an older Romanesque church built in the early 12th century and was built in only 20 years from 1468 to 1488 and consecrated in 1494. Commissioned by Duke Sigismund, the exterior of the church was constructed from red brick in a late Gothic style primarily by Jorg von Halsbach. The Frauenkirche is 358 ft long and 131 ft wide with the two towers reaching 325 ft high. The distinctive onion domes for which Frauenkirche is internationally known were not added until 1525 and were modeled on the Dome of the Rock in Jerusalem and are characteristic of late Byzantine architecture. This is of particular importance to both religious and art historians of Munich in that the domes, which have become something of a symbol for the city, are directly linked to the participation of Munich in the Catholic Crusades. These domes are singular in Northern Europe, and so demonstrate the importance of understanding Munich’s artistic personality in terms of its religious ties. The Frauenkirche has a long central nave with three sections characteristic of late Gothic architecture, as well as art spanning 5 centuries which subtly shows the heavy influence Baroque art was later to have on Munich. Although Frauenkirche was designed with a late Gothic style, there are no flying buttresses. Instead, the cathedral is supported by unusual columns inside the building that hide every window except one. This fact should be carefully noted by a visitor interested in architecture, since it is a great peculiarity. It also has significant value as an aspect of the folk culture of Munich due to the legend of the “Teufelsschritt” cited below. The statuary of the church is also particularly noteworthy, including a statue of Saint Christopher that illustrates the dramatic style of the Gothic period, and a memorial to Ludwig IV that honors the first great Catholic Emperor to come from Munich. The Frauenkirche was promoted to cathedral status in 1821 and it was during this time period that all baroque elements were removed since they contradicted the Gothic style which was considered by the Roman Catholic Church to be the only true style of churches. Reconstruction of the cathedral following World War II was finally finished in 1994 and has influenced the style of the church, but overall Frauenkirche has retained much of a Gothic style as well as many pieces of historic art since they were removed during the war. Notable artwork includes work by Jan Polack from 1510, particularly The Protecting Cloak located in the chapel directly behind the altar, wooden sculptures by Erasmus Grasser, perhaps Munich’s greatest sculptor, from 1502, and a retable (a raised shelf behind the altar) created by Friedrich Pacher from 1483. There are also many modern works of art that have been added as reconstruction has occurred. Finally, the crypt under the church, which may be inaccessible at certain times, contains the tombs of many members of the Wittelbach Dynasty, the rulers who oversaw Munich’s rise to greatness from the thirteenth to sixteenth centuries.

“Frauenkirche,” Wikipedia:

“The cathedral can hold around 20,000 people, and Catholic services are held regularly. The interior of the cathedral, which is among the largest hall churches in southern Germany, consists of three naves of equal height (31 metres (102 ft)).

20,000 available seats is surprising when one considers at end of the 15th Century the city only had about 13,000 inhabitants. However, the interior is for its size by no means overwhelming, because of the two-row by 22 metres (72 ft) high columns. From the main portal the view seem to be the rows of columns, durchlichtete "walls" between the vaults, walls through which the light seems to shine. For the spatial effect of the church there is a legend, which is connected with a footprint in a square base plate at the entrance to the nave, the so-called "devil's footstep".

A rich collection of 14th to 18th century artwork of notable artists like Erasmus Grasser, Jan Polack, Hans Krumpper and Ignaz Günther decorates the interior of the cathedral again since the last restoration. The Gothic nave, several of the Gothic stained-glass windows, some of them made for the previous church, and the tomb monument of Louis IV, Holy Roman Emperor are major attractions.

Teufelsschritt, or Devil's Footstep:
Much of the interior was destroyed during WWII, and even the restored parts still look plain by comparison. However, an attraction that can still be found is the Teufelsschritt, or Devil's Footstep, at the entrance. This is a black mark resembling a footprint with a small hooked tail at the heel, which, according to legend, was where the devil stood when he curiously regarded and ridiculed the windowless church that Halsbach had built. In fact, it is a large casting in the square base plate, and none of the side windows can be seen from the spot when one looks to the high altar.

In another version of the legend, the devil made a deal with the builder: no windows were to be built in the church. The clever builder, however, tricked the devil by positioning columns so that the windows were not visible from the spot where the devil stood in the foyer. When the devil discovered that he had been tricked, he could not enter the already consecrated church. The devil could only stand in the foyer and stomp his foot furiously, which left the dark footprint that remains visible in the church's entrance today.”

Michaelskirche - The Michaelskirche, like the Frauenkirche, is important to both an understanding of the religious atmosphere of Munich and to any overview of architecturally significant sites in the city. St. Michael’s Church stands as a testament to the less-often recognized of the two sides of the Protestant Reformation which dominates German history. As reformation, revolution, and even the occasional rebellion raged in the northern principalities during the sixteenth and seventeenth centuries, Bavaria renewed and strengthened its peculiar allegiances to the Roman Catholic Church. As a sign of this German Catholic Reformation, building projects were launched throughout the South, with a special presence in Munich. The Michaelskirche was built both as one of these projects and as a political entity, providing a headquarters for the Counter-Reformation activities of the Jesuits and the Catholic League.

Even without a knowledge of this history, the Roman Catholic influences on the Michaelskirche are readily apparent. The church is modeled on Il Gesu, another Jesuit church built only years before St. Michael’s. Its barrel-vault roof is perhaps its most distinctive feature, taken from the design of Il Gesu but enlarged to surpass all other such roofs save that of St. Peter’s itself. The church’s other famous feature is its large Baroque façade, featuring extensive statuary. The Baroque style of the church is singularly Catholic, closely related to the Catholic Renaissance churches of Italy and Southern France. Indeed, the church is the largest Reniassance church in Northern Europe, adding to Munich’s thoroughly Catholic character. However, the Michaelskirche also bears some distinctly German characteristics. Like other churches in Munich, its Baroque elements are somewhat muted, portraying something of the German rationality and austerity even in the midst of one of art’s most gaudy architectural styles. The ceiling of the great barrel-vault is a prime example of this, with ceiling molding and painting that seems almost stark in comparison to the vast murals of the other, earlier baroque churches of Southern Europe such as the Michelangelo’s famous Sistine Chapel ceiling. St. Michael’s is also thoroughly anchored in the art of Munich by the statues covering its façade. These commemorate the Wittelsbach rulers who first built Munich into a cultural centre. Also among these statues is one of the most famous sculptures in Munich, the bronze figure of St. Michael defending true faith created by Munich’s Lieblingsbildhauer Hubert Gerhard. When contemplating this particular statue in the context of the pronounced Jesuit purposes of the Michaelskirche, one wonders whether the archangel is not triumphing on behalf of Roman Catholicism over the evil of German Protestantism…


“Michaelskirche,” Wikipedia:

“The church was built by William V, Duke of Bavaria between 1583 and 1597 as a spiritual center for the Counter Reformation. [1] The foundation stone was laid in 1585. [2]
In order to realise his ambitious plans for the church and the adjoining college, Duke Wilhelm had 87 houses in the best location pulled down, ignoring the protests of the citizens. [3] The church was erected in two stages. In the first stage (1583-88), the church was built by the model of Il Gesù in Rome and given a barrel-vaulted roof by an unknown architect, the vault being the largest in the world apart from that of St Peter's in Rome, spanning freely more than 20 meters. When the church was built, there were doubts about the stability of the vaulting. But it was the tower that collapsed in 1590, destroying the just completed quire. [4] Duke William V took it as a bad omen and so planned to build a much larger church. The second phase of construction continued until the consecration of the church in 1597. [5] Friedrich Sustris built on to the undamaged nave a new quire and a transept and a magnificent facade. [6]
The facade is impressive and contains standing statues of Duke Wilhelm and earlier rulers of the Bavarian Wittelsbach dynasty, cast in bronze, in the form of a family tree. [7] Hubert Gerhard's large bronze statue between the two entrances shows the Archangel Michael fighting for the Faith and killing the Evil in the shape of a humanoid demon.
Having suffered severe damage during the Second World War, the church was restored in 1946-48. Finally, between 1980 and 1983, the stucco-work was restored.

Hubert Gerhard's large bronze statue between the two entrances shows the Archangel Michael fighting for the Faith and killing the Evil in the shape of a humanoid demon. MINE:could Evil be the Protestants?

The church crypt contains the tomb of Eugène de Beauharnais. A monument was erected by Bertel Thorwaldsen in 1830 in the church. Eugène was the son of Josephine de Beauharnais, Napoleon's wife and her first husband, general Alexandre de Beauharnais. He married a daughter of King Maximilian I of Bavaria in 1806 and was created Duke of Leuchtenberg in 1817. In the right transept, there is a cross monument ofGiovanni da Bologna.
The crypt contains among others the tombs of these members of the Wittelsbach dynasty:
-William V, Duke of Bavaria
-Maximilian I, Elector of Bavaria
-King Ludwig II of Bavaria [8]
-King Otto of Bavaria”

Official Website of the Michaelskirche (st-michael-muenchen.de):

The single, long room of the church’s interior is intended to reflect the story of the life of Christ; the artwork and symbols of the church change with the narrative as one progresses from the door to the altar; the cross, which once stood at the steps of the choir loft, has been relocated to the transept, altering this unified architectural progression, but the original design is still perceptible

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The final tour of the day was led by Nikki Wooten and Melody Dale. Their tour was a tour of German food of Munich called the "Best of the Wurst." I wish I could have taken that tour!

In any case all the students are well. One student is conquering a stomach bug, but is okay. All of the rest are doing well. The weather is cold and wet, but we are having a great time. We talked with Kimberly (who had her passport stolen), and we have arranged for her to take a taxi to the hotel when she arrives at the Munich airport tomorrow morning. All is going well.

Tony and I attended Mass tonight at Frauenkirche, and I will remind you American Catholics that European Catholicism is not like American Catholicism. The pews and kneelers are made of hard wood, the Churches are cold and drafty, the homilies are brusque, and receiving the Eucharist is like trying to hold your own at a soccer match. I thought I was going to be knocked down a couple of times. There is no line for Communion -- merely mad dash to the front, and even frail looking old ladies will push you down to get to the front. It is almost comical.

Following Mass, Tony and I did a run-through of his tour for tomorrow afternoon, and concluded with dinner and beer at the Hofbrauhaus. It was awesome.

Thanks for following us. Will post more later!

Joanie and Tony