One continues along Dürnbräugasse with its multi-coloured façades,
then Ledererstrasse and Orlandostrasse, to arrive in the Platzl,
a 14th-century quarter. Two houses, Nos. 2 and 3, are still left from
that period. The Platzl is arguably Old Munich’s most
tourist-impregnated mile. Souvenir shops and swarms of tourists will
accompany you to the world-renowned Hofbräuhaus, which despite
what the popular song says, gets scarcely visited by the locals these
days. Beer-brewing started here in 1589, but ever since 1890 the place
has just been a tavern, although its inner courtyard is a beautiful beer
garden.
Along narrow Pfisterstrasse our way now leads to the Alte Hof,
the grotto of the Bavarian Lion. In mid-19th century, the Wittelsbachs
built their first town residence here, to serve as the central point of
their royal presence in Munich and Bavaria which lasted for more than
700 years. The south façade with its severe, almost modern-looking
gate-tower and oriel is particularly well-preserved. People sometimes
call it ‘Affenturm’ (Monkey Tower), because legend has it
that a trained monkey once abducted the small son of Duke Ludwig the
Severe – the later Head of the Holy Roman Empire Ludwig IV ‘The
Bavarian’ – and carried him to the top of the oriel. In actual fact,
however, the oriel wasn’t built till long after the Emperor’s death.
Under Albrecht V, a footbridge was constructed across Pfisterstrasse
to link the Alte Hof to the Alte Münze (Old Mint). The building
once housed Germany’s first, at the time still private, museum, and
was used for the minting of coins till 1986. Behind the simple façade
hides one of the most attractive interior courtyards in Italian
Renaissance style to be seen north of the Alps.
The street called Hofgraben ends in Maximilianstrasse, a boulevard
between Residenzstrasse and the Maximilianeum, which combines culture
and shopping in the best sense of Munich originality. Together with
Odeonsplatz, the atmosphere in Maximilianstrasse has the tang of places
such as Broadway or Fifth Avenue, and is a popular rallying point for
‘the beautiful people’ and theatre fans. It leads to Max-Joseph-Platz,
where a massive monument commemorates the reform-minded early-liberal
Bavarian King Maximilian Joseph I (1756-1825), and subsequently straight
to Residenzstrasse with the impressive façade of the Residenz.
This building’s history commences when the Wittelsbachs thought
themselves hampered by the – relative- scarcity of rooms in the Alte
Hof. They thus started erecting the Neuveste (Veste used
to mean ‘fortification’) on the site of today’s Residenz. As a
consequence, the Alte Hof lost its significance as a royal Residence.
The new domicile – expanded in the course of the centuries but largely
destroyed in World War II – had to wait until 1980 to see itself
restored almost to perfection. The Residenz counts as one of the
grandest residences of its kind and can easily stand comparison with the
Wiener Hofburg.
Also well worth visiting is the Wittelsbachbrunnen, a fountain
adorned by antique figures of gods allegorically representing the four
large Bavarian rivers Danube, Isar, Lech and Inn. On summer nights, the
classic Brunnenhof Serenades take place here. By the way, you mustn’t
forget energetically to clean the nose of the lions guarding the
entrance to the Residenz. This is said to ensure a safe return to
Munich.
Further northwards, Residenzstrasse widens into Odeonsplatz. ‘Que
bella!’, Italian tourists exclaim here in surprise, and visitors
from further afield consult their map of Europe to make sure they are in
Munich and not by any chance in Rome or Florence.
For no later than on Odeonsplatz does it become clear how, at the
time, the entire world was hauled home to Munich. Florence’s Palazzo
Pitti served as the model for the Residenz, Paris’s Théâtre de l’Odéon
did likewise for the Nationaltheater, and even the Hauptpostamt (Main
Post Office) with its elegant arcade took its inspiration from Florence’s
Foundling Hospital.
For the construction of the yellow Theatinerkirche, Elector
Ferdinand Maria’s consort Henriette Adelaide of Savoy, who hailed from
Italy, especially enlisted architects from her homeland. Churches in
Rome and Venice served as models. Not only did the Elector make a
present of Nymphenburg Castle (vide Things to see) to the spouse
who presented him with a successor in 1662, he also acquitted himself of
a vow of gratitude to a higher authority for the birth of an heir, by
financing the construction of the new Theatinerkirche, St.Katejan, and
presented the edifice to the Venetian Order of the Theatiners.
Florence’s Loggia dei Lanzi was the model for the Feldherrnhalle
(1841-44), built by Friedrich von Gärtner. It was constructed on the
site of the former Schwabinger Gate, which had to make way for an
extension to the city in 1817. The new quarter was named Ludwigvorstadt,
after the Regent. In more recent times, the Feldherrnhalle made the
headlines in particular on 9 November 1923 when Hitler, taking his cue
from Mussolini’s ‘March on Rome’ (1922), attempted a putsch in the
guise of a ‘March on the Feldherrnhalle.’
The Siegestor (Victory Gate), whose three arches correspond to
those of the Feldherrnhalle, oce formed the shining terminal to
Triumphstrasse. It was built in 1842 after the designs of Rome’s
Constantine’s Arch. The Siegestor is the starting point of
Leopoldstrasse, Schwabing’s ‘lounge-about mile’.
The front of Leuchtenberg-Palais is inspired by the façade of
the Palazzo Farnese designed by Michelangelo. The bronze monument in
front depicts Ludwig I, whose claim to fame is based on his promotion of
the arts. Café Tambosi, situated along the façade of the
Bazargebäude, is one of the city’s foremost traditional cafés: it
was a trendy meeting-place in Biedermeyer times already. The enormously
elongated building – an idea blown over from Paris – borders the Hofgarten
and invites you to a lengthy coffee-break either in the tranquillity
of the inner courtyard or on its busy pavement area.
Our stroll now takes us from Odeonsplatz to Wittelsbacherplatz,
a distance of a mere few yards. Here, Elector Maximilian I (1573-1651)
still stretches his protecting hand out over the square, one of Munich’s
finest, laid out in strictly classical style and symmetrically bordered
with round-trimmed maples.
Diagonally opposite, the elegant boutiques and antique shops of
Amiraplatz lead us to Salvatorplatz. Since a few years ago, its Literaturhaus,
complete with Café Dukatz, lends fresh life to the once quiet wine
cellar ‘Burg München’. Further southwards, magnificently decorated
façades speak of pompous riches: Palais Portika, whose façade
originates from F. Cuvilliés, the Erzbischöfliche Palais (Archbishop’s
Palace) with its façade by J.B.Zimmermann, and the mighty Gründerzeit
façade of the Hypovereinsbank, created by E.Schmidt. The Gründerzeit
were the economic boom years after 1871, when Germany was reunited
and had become an empire. Along Prannerstrasse, enthusiasts of technical
progress can take some time off in the Siemens-Forum, where over 2,000
exhibits illustrate more than 140 years of the firm’s history in
exemplary fashion.
At right angles to Prannerstrasse, some way along the ancient city
walls, lies the narrow public garden of Maximilianplatz. At its
south-eastern end, the Wittelsbacher fountain splashes gaily, as though
intent on proving to every passer-by that Munich’s water supply has
been well and truly taken care of.
Further along the ancient city ramparts – in combination with a
moat they protected the town from invaders until four centuries ago –
we arrive first on Lenbachplatz and then on Karlsplatz. Both squares are
bordered by luxurious ancient palaces, for instance the Bernheimerpalast,
the present seat of the stock exchange, to which the Künstlerhaus,
diagonally opposite on Lenbachplatz, forms a modest contrast. Opening at
the start of the 20th century, the latter was initially the centre of
Munich’s art scene, while today its rooms are part of Café
Mövenpick. Do not, however, miss the opportunity of taking an
in-between glance into the so-called Venetian Room. Enjoying a cup of
coffee on the terrace gives you a chance of looking across at the Old
Botanic Gardens, laid out in 1816. The monumental façade of the Justizpalast
can also be viewed from here, with behind it the frugal simplicity of
the Neue Justizgebäude (New Law Courts).
Neuhauser Strasse, unofficially called Stachus, begins at Karls Gate
on Karlsplatz and points in the direction of the Frauenkirche. As late
as 1972, a metallic avalanche of noisy motor traffic would daily worm
its way through this narrow concrete corset, but then this street too
was integrated into the pedestrian zone. Tourists in search of the
authentic ‘Old-Munich atmosphere’ are advised to visit the
Augustinerbräu, Munich’s oldest brewery-restaurant. Augustine monks
have been brewing beer here since 1328, and the layout of the Muschelsaal
is still in its original state.
The nearby Michaelskirche is regarded as the largest
Renaissance church north of the Alps. In the recesses of its façade
stand the statues of the Agilofing and Wittelsbach dukes, whose graves
used to be here. The adjoining building is the former church belonging
to the Order of St.Augustine, which was secularised in 1803 and has
since its restoration been housing the German Jagd-und
Fischereimuseum (Museum of Hunting and Fishing).
A stroll through Augustinerstrasse takes us to the city’s symbol:
the Frauenkirche (Church of Our Lady). Its twin towers are
pictures on every postcard. The architects possessed a wonderful gift of
vision: when the church was built between 1468 and 1488 it provided room
for a congregation far exceeding the number of inhabitants of the town.
Its manner of construction, namely brickwork, was snapped up with regard
to numerous other buildings, e.g. the Städtisches Hochhaus (a modest
‘skyscraper’) in Blumenstrasse, the Gasteig Cultural Centre and the
Neues Justizgebäude.
Another few yards takes you to Marienplatz, formerly the town’s
coal market. In gratitude for Munich’s liberation from the Swedish
occupier, the Elector Maximilian had the Mariensäule (St.Mary’s
Column) erected here in 1638. The neo-gothic Neue Rathaus (New
Town Hall) whose construction began in 1867, is one of the few buildings
in Munich adopting styles from northern regions, in casu from
Flanders. Today it is the seat of Munich’s Lord Mayor and his town
council.
Three times daily, at 11am, 12 noon and 5pm, tourists from all over
the world assemble to wait for the 32 life-size figures populating the
two-storey-high Glockenspiel (chiming clock) to start moving: below: the
red-coated coopers, and above them a jousting-contest at a
wedding-feast. The tower’s vantage point offers one last view of
Munich before our stroll ends at St.Peter’s Church, just across the
road.
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