hate-filled message. The legacy of the lost war provided the conditions in which the paths of Hitler and the German people began to cross. Without the war, a Hitler on the Chancellor’s seat that had been occupied by Bismarck would have been unthinkable.
I
Looking back just over a decade later, Hitler spoke of the fifteen months he spent in Munich before the war as ‘the happiest and by far the most contented’ of his life. The fanatical German nationalist exulted in his arrival in ‘a
German
city’, which he contrasted with the ‘Babylon of races’ that, for him, had been Vienna. He gave a number of reasons why he had left Vienna: bitter enmity towards the Habsburg Empire for pro-Slav policies that were disadvantaging the German population; growing hatred for the ‘foreign mixture of peoples’ who were ‘corroding’ German culture in Vienna; the conviction that Austria-Hungary was living on borrowed time, and that its end could not come soon enough; and the intensified longing to go to Germany, to where his ‘childhood secret desires and secret love’ had drawn him. The last sentiments were plainly romanticized. Otherwise, the feelings were genuine enough. Andof his determination not to fight for the Habsburg state there can be no doubt. This is what Hitler meant when he said he left Austria ‘primarily for political reasons’. But the implication that he had left as a form of political protest was disingenuous and deliberately misleading. As we noted, the prime and immediate reason he crossed the border into Germany was very tangible: the Linz authorities were hot on his trail for evasion of military service.
Hitler wrote that he came to Munich in the hope of some day making a name for himself as an architect. He described himself on arrival as an ‘architectural painter’. In the letter he wrote to the Linz authorities in 1914, defending himself against charges of evading military service, he stated that he was forced to earn his living as a self-employed artist in order to fund his training as an architectural painter. In the biographical sketch he wrote in 1921, he stated that he went to Munich as an ‘architecture-designer and architecture-painter’. At his trial in February 1924 he implied that he had already completed his training as an ‘architecture-designer’ by the time he came to Munich, but wanted to train to be a master builder. Many years later he claimed his intention was to undertake practical training in Germany; that on coming to Munich he had hoped to study for three years before joining the major Munich construction firm Heilmann and Littmann as a designer and then showing, by entering the first architectural competition to design an important building, just what he could do. None of these varying and conflicting accounts was true. There is no evidence that Hitler took any practical steps during his time in Munich to improve his poor and dwindling career prospects. He was drifting no less aimlessly than he had done in Vienna.
After arriving in Munich on 25 May 1913, a bright spring Sunday, Hitler followed up an advertisement for a small room rented by the family of the tailor Joseph Popp on the third floor of 34 Schleißheimerstraße, in a poorish district to the north of the city, on the edge of Schwabing, the pulsating centre of Munich’s artistic and bohemian life, and not far from the big barracks area. His travelling companion, Rudolf Häusler, shared the cramped room with him until mid-February 1914. Apparently, Hitler’s habit of reading late at night by the light of a petroleum lamp prevented Häusler from sleeping, and so irritated him that he eventually moved out, returning after a few days to take the room adjacent to Hitler’s, where he stayed until May. According to hislandlady, Frau Popp, Hitler quickly set himself up with the equipment to begin painting. As he had done in Vienna, he developed a routine where he could complete a picture every two or three days,
I
Looking back just over a decade later, Hitler spoke of the fifteen months he spent in Munich before the war as ‘the happiest and by far the most contented’ of his life. The fanatical German nationalist exulted in his arrival in ‘a
German
city’, which he contrasted with the ‘Babylon of races’ that, for him, had been Vienna. He gave a number of reasons why he had left Vienna: bitter enmity towards the Habsburg Empire for pro-Slav policies that were disadvantaging the German population; growing hatred for the ‘foreign mixture of peoples’ who were ‘corroding’ German culture in Vienna; the conviction that Austria-Hungary was living on borrowed time, and that its end could not come soon enough; and the intensified longing to go to Germany, to where his ‘childhood secret desires and secret love’ had drawn him. The last sentiments were plainly romanticized. Otherwise, the feelings were genuine enough. Andof his determination not to fight for the Habsburg state there can be no doubt. This is what Hitler meant when he said he left Austria ‘primarily for political reasons’. But the implication that he had left as a form of political protest was disingenuous and deliberately misleading. As we noted, the prime and immediate reason he crossed the border into Germany was very tangible: the Linz authorities were hot on his trail for evasion of military service.
Hitler wrote that he came to Munich in the hope of some day making a name for himself as an architect. He described himself on arrival as an ‘architectural painter’. In the letter he wrote to the Linz authorities in 1914, defending himself against charges of evading military service, he stated that he was forced to earn his living as a self-employed artist in order to fund his training as an architectural painter. In the biographical sketch he wrote in 1921, he stated that he went to Munich as an ‘architecture-designer and architecture-painter’. At his trial in February 1924 he implied that he had already completed his training as an ‘architecture-designer’ by the time he came to Munich, but wanted to train to be a master builder. Many years later he claimed his intention was to undertake practical training in Germany; that on coming to Munich he had hoped to study for three years before joining the major Munich construction firm Heilmann and Littmann as a designer and then showing, by entering the first architectural competition to design an important building, just what he could do. None of these varying and conflicting accounts was true. There is no evidence that Hitler took any practical steps during his time in Munich to improve his poor and dwindling career prospects. He was drifting no less aimlessly than he had done in Vienna.
After arriving in Munich on 25 May 1913, a bright spring Sunday, Hitler followed up an advertisement for a small room rented by the family of the tailor Joseph Popp on the third floor of 34 Schleißheimerstraße, in a poorish district to the north of the city, on the edge of Schwabing, the pulsating centre of Munich’s artistic and bohemian life, and not far from the big barracks area. His travelling companion, Rudolf Häusler, shared the cramped room with him until mid-February 1914. Apparently, Hitler’s habit of reading late at night by the light of a petroleum lamp prevented Häusler from sleeping, and so irritated him that he eventually moved out, returning after a few days to take the room adjacent to Hitler’s, where he stayed until May. According to hislandlady, Frau Popp, Hitler quickly set himself up with the equipment to begin painting. As he had done in Vienna, he developed a routine where he could complete a picture every two or three days,
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