Jeanne-Marie Musto retains copyright to this dissertation. Due to copyright restrictions, illustrations have been omitted. Download the complete dissertation here.
Byzantium in Bavaria:
Art, Architecture and History between Empiricism and Invention in the Post-Napoleonic Era
Jeanne-Marie Musto
December, 2007
Submitted to the Faculty of Bryn Mawr College in partial fulfillment of the requirements for the degree of Doctor of Philosophy
![Speyer Cathedral seen from the Rhine](https://mustoobservatory.com/wp-content/uploads/2019/05/Speyer_Dom_Illustration_Stumpf_1852-600x512.jpg)
East end of Speyer Cathedral, seen from the Rhine
Image from Pleickhard Stumpf, Bayern. Ein geographisch-statistisch-historisches Handbuch des Königreiches (1852), p. 450.
Download the complete dissertation here or click on a chapter heading below to download that chapter.
- Chapter One. Introduction
- Byzantiums Tangible and Transcendent 6
- Overview of the Corpus of Bavarian Byzantium 18
- Methodology and Primary Sources 23
- Interpretive Approach 27
- Secondary Sources 31
- Geopolitical and Confessional Framework 36
- Imitation vs. Emulation 43
- Stylistic Terminology 49
- Organization 80
- Chapter Two. Historical Framework
- Ludwig as Crown Prince of the New Kingdom of Bavaria 85
- Restoration Bavaria and the Greek War of Independence 88
- The July Revolution and a Bavarian on the New Greek Throne 92
- German Byzantium between the Classical and Gothic ideals 93
- Enlightenment vs. Byzantium 95
- Romantic Byzantium 98
- Art and Architectural History as Geography 107
- The Brotherhood of St. Luke 108
- The Stability of Early Nineteenth-Century Byzantiums 111
- Chapter Three. Byzantium between Ancient and Modern
- Ludwig in Italy: From Classical Greece to Byzantium 113
- The German Search for Byzantium 117
- An Italo-German Byzantium 122
- The First Bavarian Byzantine Renovation: Speyer Cathedral 124
- Ludwig and the Palatine Chapel in Palermo 135
- Ludwig Inherits the Bavarian Throne 138
- Art from the East: The Pinakothek Loggias 140
- A Bavarian Byzantine Revival Begins: the Allerheiligenhofkapelle 146
- Heß’s, Schraudolf’s and Schwarzmann’s Byzantine Revival Frescoes 160
- Reception of the Allerheiligenhofkapelle 168
- Klenze’s Model Byzantine Church: St. Michael and John the Baptist, Eltmann 166
- Klenze’s Western Byzantium: St. Salvator, Donaustauf 172
- Chapter Four. Byzantine vs. Gothic Polychromy: Ludwig’s Restoration of Bamberg’s Cathedral of St. Peter and St. George
- Ludwig I’s Program to Undo Bamberg’s Post-Medieval Polychromy 181
- Early Nineteenth-Century Appreciation of Medieval Polychromy 192
- Ludwig’s Early Fascination with Classical Polychromy 203
- Crown Prince Ludwig’s Early Explorations of Medieval Polychromy in Tandem with Late Classicizing Renovations at Bamberg Cathedral 208
- Byzantine Bamberg 1. Rupprecht Discovers Traces of Medieval Paint 218
- Byzantine Bamberg 2: The Restoration under Heideloff 234
- Byzantine Bamberg 3: Gärtner Takes Over 245
- The Little Byzantine 250
- German Style Stained Glass and Classical Purity 255
- Byzantine vs. German to Romanesque vs. Gothic 257
- Chapter Five. Eastern vs. German Byzantine
- Ludwig of Bavaria and His Crusading Patron Saint: Louis IX of France 261
- The Ludwigskirche (1828-1844): the Commissions 264
- The Byzantine Style: Orthodox or Pre-Reformation Catholic? 266
- Friedrich Wilhelm III of Prussia and the New Greek Chapel of St. Alexander Nevsky, Potsdam (ca. 1826-28) 270
- Ludwig’s Catholic Philhellenism: Klenze Renovates St. Salvator, Munich, as a New Greek Church (1828-30) 273
- Ludwig, Gärtner and the Purified Byzantine Style 275
- Cornelius’s Christian Vision: Byzantine? 277
- Cornelius’s Christian Vision and Confessional Polarization 284
- Bavarian Byzantine Glazing 287
- The Evolution of Gärtner’s Architectural Ideas 290
- The Ludwigskirche on the Ludwigsstraße: A Byzantine Heart for Bavaria’s New Political and Intellectual Establishment 295
- Gärtner Approaches Byzantium 296
- Klenze Evaluates Gärtner’s Plans: Style as Confessonal Politics 301
- Parallels between Gärtner’s Ludwigskirche and Klenze’s Byzantine Style 304
- Gärtner’s Purified Byzantine Style and Winckelmann’s Call to Imitation 308
- Gärtner’s Changes to the Approved Ludwigskirche Façade 310
- The Ludwigskirche’s Ornamental Fresco Program 314
- Reception of the Ludwigskirche as Byzantine 329
- Chapter Six. Conclusion and Significance of Bavarian Byzantium
- Bavarian Byzantium in the 1830s: Confessional Politics in Greece and the Emergence of Competing Byzantiums 334
- From the Bavarian Byzantine to the Russian Byzantine Revival Style 343
- Ludwig’s Creation of a Second Historicizing Style for Synagogues and its Impact on the Spread of the Byzantine Revival Style 357
- Semper’s and Rosengarten’s Byzantine Synagogues in Dresden and Kassel 374
- Ludwig’s Last Essay in the Byzantine Revival: The Interior of Speyer Cathedral (and Mannheim Synagogue) 378
- The Transition to Romanesque: Hübsch’s Westwork at Speyer Cathedral 389
- Conclusion. Ludwig I’s Byzantium: Between Empiricism and Invention 394
- Bibliography 399
- List of Plates
- Maps 425
- Illustrations 426