Neo-Greek Style as a way to sacralize the folk past: Evidence from the Valhalla Temple

Abstract

Art critics share a common perspective that the 19th century trend for ‘personalization’ destroyed the phenomenon of style. However, style is not a thing of the past. It is still here and has retained its significance as a tool that culture may use to expresses its desire for generalization and expression of large-scale trends, including those that explore the national idea. One of the styles that emerged in the New Age during the development of national states was Neo-Greek. Unlike the Empire style, which mainly personified the idea of an empire state with its militaristic spirit, the Neo-Greek style was reminiscent of Ancient Greece as the ‘cradle’ of European culture, which was perceived as the center of not only military and political, but also scientific, philosophical, and artistic activity. The article focuses on the Valhalla, the outstanding monument of Neo-Greek architecture erected in the vicinity of Regensburg by the architect Leo von Klenze. The Valhalla celebrates those who made a substantive contribution to the development of German statehood and culture. Their list is not limited to the representatives of the German ethnic group alone, which emphasizes the national character of the ‘pantheon’. In search of the grounds for national unification, the European peoples of the New Age often turned to the past, which was interpreted in a sublime key, idealized and even sacralized. At the same time, the object of worship could be of religious or secular nature. The Valhalla is a striking example of the sacralization of the idea of state embodied in the ancient Greek version, i. e., versatile, universal, culture-centric, and balanced. The meaning and forms of the Neo-Greek style are no less relevant today when national consolidation stands high on the agenda, including that of Russia.