From 1909

Initiated by

A committee chaired by Kriegerverein Münster (ex-serviceman’s association) with the support of Münster City Council. In October 1900, an appeal for donations was made for a civic memorial to commemorate all fallen soldiers from the city, as the existing memorial Trauernde Germania (Germania in mourning) at Ludgeritor was dedicated only to the fallen soldiers of 13th Infantry Regiment.

Designed by

Bernhard Frydag (1879-1916)

Design

The memorial is a large, round structure 23 metres in circumference made of grey limestone. On top of the base stands a cylinder approximately five metres in diameter and six meters in height. The cylinder features six panels. These feature various relief depictions of naked warriors, grieving women, lions, torches, wreaths, swords and the German imperial eagle. The warriors carry swords as a symbol of power, war and victory. A warrior fighting with a lion symbolises heroism.
The memorial has been altered over time. The memorial originally stood on a round plinth surrounded by a chain, with steps leading up to it. The memorial was crowned with eagles.

Official opening

July 19th, 1909
Location in city map

Historical context

Object of remembrance

The war memorial commemorates the citizens of Münster who died in the 1864, 1866 and 1870/71 Wars of German Unification. The monument does not highlight any individuals. The monument is intended as an appeal to unity. The monument is a demonstrative representation of the national consensus and its message is heroising and patriotic.
According to the deed of foundation, the monument is intended to “forever commemorate the glorious victories of 1864, 1866 and 1870/71, and those sons of Münster who loyally and courageously fought in them and sealed their sworn allegiance to king and fatherland with a hero’s death.”
At its inauguration, the Mayor of Münster, Max Jungeblodt, envisioned the role of the monument as being, “to emulate in the noblest sense the heroes who fought and died for the honour of Germany.”

Historical context

The dates relate to the 19th century Wars of German Unification – the Second Schleswig War of 1864 (Prussia and Austria vs. Denmark), the Austro-Prussian War of 1866 (Prussia vs. Austria, Hanover and southern German states) and the Franco-Prussian War of 1870/71 (Prussia and southern Gernan states vs. France under Napoleon III). These three wars led to the Proclamation of the German Empire. After the proclamation of the empire, politics in Münster were dominated by a cultural clash between the Catholic Church and the largely Protestant imperial government centred on the Kaiser and Chancellor Otto von Bismarck. It was only following rapprochements starting in the mid 1890s and a visit by the Kaiser to Münster in 1884 that this tension began to ease. Thereafter, even in a city which was the seat of a Catholic bishop, it became possible to orchestrate the commemoration of the Wars of Unification as the founding myth of the German Empire. Consequently, when it came to planning and dedicating a national war memorial a short time later, the focus was less on commemorating fallen soldiers and more on fostering a sense of national identity.

Public perceptions

Public opinion concerning the monument has varied over time.
1911: Hermann Schmitz described the monument as a splendid work
1914: Peter Werland spoke of the monument in his Münster Travel Guide as “one of the best war memorials in Germany”.
The citizens were less taken with the monument. Because of its depiction of numerous naked warriors it was referred to as the Schinkendenkmal (‘ham monument’).
After the Second World War, the monument was restored, having sustained war damage. There was now a hedge to prevent the laying of wreaths.
In 1997, the artist Hans Haacke used the memorial as part of the Skulptur Projekte Münster sculpture exhibition. He erected a carousel around it and enclosed the memorial behind a timber wall.

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