10 Best Sights in Munich, Germany

Perhaps Munich's most ostentatious church, it has a suitably extraordinary entrance, framed by raw rock foundations. The insignificant door, crammed between its craggy shoulders, gives little idea of the opulence and lavish detailing within the small 18th-century church (there are only 12 rows of pews). Above the doorway St. Nepomuk, the 14th-century Bohemian monk and patron saint of Bavaria who drowned in the Danube, is being led by angels from a rocky riverbank to heaven. The church's official name is Church of St. Johann Nepomuk, but it's more popularly known as the Asamkirche for its architects, the brothers Cosmas Damian and Egid Quirin Asam. The interior of the church is a prime example of true southern German late-Baroque architecture. Frescoes by Cosmas Damian Asam and rosy marble cover the walls. The sheer wealth of statues and gilding is stunning—there's even a gilt skeleton at the sanctuary's portal.

Munich's Dom (cathedral) is a distinctive late-Gothic brick structure with two huge towers, each 99 meters (325 feet) high (a Munich landmark to climb but currently closed with no set reopening date). The main body of the cathedral was completed in 20 years (1468–88)—a record time in those days—and the distinctive onion-dome-like cupolas were added by 1525. Shortly after the original work was completed in 1488, Jörg von Halspach, the Frauenkirche's architect, died, but he managed to see the project through. In 1944–45, the building suffered severe damage during Allied bombing raids and was restored between 1947 and 1957. Inside, the church combines most of von Halspach's plans with stark, clean modernity and simplicity of line. As you enter the church, look on the stone floor for the dark imprint of a large foot—the so-called Teufelstritt (Devil's Footprint). The cathedral houses the elaborate marble tomb of Duke Ludwig IV (1282–1347), who became Holy Roman Emperor Ludwig the Bavarian in 1328. One of the Frauenkirche's great treasures is the collection of wooden busts by Erasmus Grasser.

This striking example of the two Asam brothers' work in the Lehel district impresses visitors with its sense of movement and heroic scale. The ceiling fresco from 1729 by Cosmas Damian Asam glows in all its original glory. The ornate altar was also designed by the Asam brothers. Towering over the delicate little church, on the opposite side of the street, is the neo-Romanesque bulk of the 19th-century Parish Church of St. Anne. Stop at one of the stylish cafés, restaurants, and patisseries gathered at the junction of St.-Anna-Strasse and Gewürzmühlstrasse, about 250 feet from the churches.

The Altstadt's oldest parish church (called locally Alter Peter, or Old Peter) traces its origins to the 11th century, and has been restored in various architectural styles, including Gothic, baroque, and rococo. The rich baroque interior has a magnificent high altar and aisle pillars decorated with exquisite 18th-century figures of the apostles. In clear weather it's well worth the long climb up the approximately 300-foot-high tower, with a panoramic view of the Alps.

Built to commemorate Bavaria's part in the War of Spanish Succession, further motivation for the construction of this church was a prophecy from the devout Maria Anna Lindmayr that if the city survived the war intact and a church was not erected in thanks, the city was doomed. The city was saved and a church was built between 1711 and 1718. It has a striking baroque exterior, and its interior is brought to life by frescoes by Cosmas Damian Asam depicting various heroic scenes. Remarkably, it is the only church in the city's Altstadt spared destruction in the war.

On the lake's eastern shore, at the village of Berg, you'll find the König Ludwig II Votivkapelle Berg. A well-marked path leads through thick woods to the chapel, built near the point in the lake where the drowned king's body was found on June 13, 1886. He had been confined in nearby Berg Castle after the Bavarian government took action against his withdrawal from reality and his bankrupting castle-building fantasies. A cross in the lake marks the point where his body was recovered.

Planted halfway along the stark, neoclassical Ludwigstrasse is this superb twin-towered Byzantine- and Italian-influenced church, built between 1829 and 1838 at the behest of King Ludwig I to provide his newly completed suburb with a parish church. From across the road, look up to see the splendidly colored, 2009 mosaic on the church's roof. Inside, see one of the great modern frescoes, the Last Judgment by Peter von Cornelius, in the choir. At 60 feet by 37 feet, it's also one of the world's largest.

A curious story explains why this hugely impressive Renaissance church, adjoining a former extensive Jesuit college, has no tower. Seven years after the start of construction, in 1583, the main tower collapsed. Its patron, pious Duke Wilhelm V, regarded the disaster as a heavenly sign that the church wasn't big enough, so he ordered a change in the plans—this time without a tower. Completed in 1597, the barrel vaulting of St. Michael's is second in size only to that of St. Peter's in Rome. The duke is buried in the crypt, along with 40 other Wittelsbach family members, including the eccentric King Ludwig II. A severe neoclassical monument in the north transept contains the tomb of Napoléon's stepson, Eugène de Beauharnais, who married a daughter of King Maximilian I and died in Munich in 1824. Once again a Jesuit church, Michaelskirche serves as a venue for church music performances. 

St. Jakob, Dachau's parish church, was built in 1624–25 in late-Renaissance style on the foundations of a 13th-century Gothic structure. Baroque features and a characteristic onion dome were added in 1676–78. On the south wall you can admire a very fine sundial from 1699, which displays the month, the zodiac, and the time.

This glorious baroque church owes its Italian appearance to its founder, Princess Henriette Adelaide of Savoy, who commissioned it in gratitude for the long-awaited birth of her son and heir, Max Emanuel, in 1662. A native of Turin, the princess mistrusted Bavarian architects and builders and thus summoned Agostino Barelli, a master builder from Bologna, to construct her church. It is modeled on Rome's Sant'Andrea della Valle. Barelli worked on the building for 12 years, but he was dismissed as too quarrelsome. It was another 100 years before the building was finished in a style similar to today's. Its striking yellow facade stands out, and its two lofty towers, topped by delightful cupolas, frame the entrance, with the central dome at the back. The superb stucco work on the inside has a remarkably light feeling owing to its brilliant white color. The expansive Odeonsplatz in front of the Feldherrnhalle and Theatinerkirche is often used for outdoor stage events.