The sight of the Bavaria statue above the Theresienwiese is so iconic that although the almost 19-metre-high figure cannot be overlooked, it might be taken for granted. But, as Aslan Göktepe explains, the secular patron saint of Bavaria has a fascinating story - one that is worth taking a closer look at. Together with his father, Aslan runs the art foundry Kunstgießerei München (Munich Art Foundry).
The 42-hectare Theresienwiese, home to Oktoberfest, is a key part of Munich’s city life. In April, people welcome the first warm days here at the Spring Festival. In summer, the vast open space attracts visitors to fly kites and go inline skating. In winter, it transforms for the Tollwood Festival. And, of course, it is here that the so-called “fifth season” is heralded with the traditional Oktoberfest barrel tapping. The Bavaria statue, Munich’s secular counterpart to Mary, religious patroness of Bavaria, watches over all of this with a friendly and dignified gaze. Only a few people pause to look up at her. Yet, at a height of almost 19 metres and a weight of 87 tonnes, it remains a remarkable technical achievement. Aslan Göktepe explains why. He and his father run Kunstgießerei München on Schleissheimer Strasse, a foundry that has been in operation since 1905.
Mr Göktepe, you have also cast a Bavaria statue yourself. Is it comparable to the original?
Not really. First, we made a miniature version – only about 20 centimetres high. The real Bavaria, without its base, stands 18,52 metres tall. In addition to the size, the production methods also differ: We used the lost wax technique. This is an process and an art dating back to 4000 BC, to produce detailed and complex metal parts, such as statues. First, a model of the desired object is moulded out of wax. The wax model is then covered with a special, heat-resistant material, usually ceramic or plaster. This mould, which contains the wax, is placed in an oven where the wax melts and flows out, leaving a cavity that is exactly the same shape as the original wax model. Then molten metal, e.g. bronze or silver, is poured into this cavity.
And was this different with the Bavaria?
Yes, definitely. Unlike us, Ludwig Schwanthaler, the sculptor of the Bavaria, didn’t create a wax positive, but instead made a one-to-one plaster model. At this size, he must have worked with a mixture of clay and sand, i.e. using the sand-casting method. Ludwig Schwanthaler first made a miniature version and then a larger model in order to precisely determine the details and proportions. A huge plaster model was then built and disassembled into many small parts. Each part was pressed into sand to create a negative mould - similar to an imprint in wet sand. Then, the molten metal was poured into these moulds. After casting, the individual parts were assembled on the Theresienwiese.
Ludwig Schwanthaler first made a miniature version and then a larger model in order to precisely determine the details and proportions.
How many individual parts were cast?
There were four large parts: the head, the chest, the lower half and the lion. And then there were many add-on parts. There are said to have been more than 40, including arms, the sword, the oak wreath and all the details.
It is amazing that such a high level of detail was achieved despite the enormous size.
That is thanks to the process. Because Schwanthaler chose the sand-casting method, he was able to produce the cast in incredible detail. The special quartz sand, which is particularly heat-resistant and fine-grained, made the mould very robust, which is essential for such a large project.
The head of the Bavaria was cast from the bronze of a sunken Turkish cannon, which King Otto, the son of Ludwig I, had salvaged off the Greek coast and sold to Europe as recycled material.
Were there any other challenges?
One major challenge was the sheer amount of metal that had to be melted. The workers must have processed an enormous volume – just the chest piece alone required 330 hundredweights. The head of the Bavaria was cast from the bronze of a sunken Turkish cannon, which King Otto, the son of Ludwig I, had salvaged off the Greek coast and sold to Europe as recycled material. Special carts had to be built to transport the gigantic parts. Back then, there were no welding machines to join the parts together. I therefore assume that they were riveted.
How long did all this take?
A very long time. King Ludwig I commissioned his court architect Leo von Klenze and sculptor Ludwig Schwanthaler with the design in 1837. It ultimately took 13 years from planning and preparation to casting and completion.
Why was bronze chosen as the material?
Bronze does not corrode. It only develops a patina, but it doesn’t rust. It’s very, very durable and has been a valuable and fine metal since the ancient times.
The gigantic size – so much metal at once. A true masterpiece – I can only take my hat off to that.
If the Bavaria were to be cast again today, what would be different?
The technique has not changed much, just the tools. Today, we have materials that are easier to handle and make the work much simpler. The finishing process with electric tools, like welding equipment, is also easier. But the principle has remained the same. In the past, beeswax was used for sculptures. Now, there are synthetic waxes with excellent properties, which are less porous and more elastic. They are easier and better to work with.
As a metal caster, what fascinates you about the Bavaria?
The gigantic size – so much metal at once. Here, we melt a maximum of 250 kilos at a time. Back then, they melted tonnes in a single go. That’s a whole different story. A true masterpiece – I can only take my hat off to that.
Could a statue like this still be cast today using traditional techniques?
If it was possible back then, it must still be possible today. Of course, we would have to re-acquire the old knowledge, especially when it comes to the scale of the project. But in theory, it could be done. We would probably approach it differently – casting smaller pieces, bit by bit.
How long would the melting process take you?
(laughs) At least two years.
Father Hasan Göktepe, who has listened attentively to the conversation so far, adds with a smile: “That would mean, until I retire.”
