Note: In this post, I discuss so-called Litfaßsäulen, German advertising columns, that were once ubiquitous in cityscapes across the country but are rapidly being removed.
Related Post:
Post 174: MY GREAT-UNCLE RUDOLF LÖWENSTEIN, DANZIG REPRESENTATIVE OF THE RUDOLF MOSSE ADVERTISING AGENCY
This post is a spinoff of the previous one where I discussed “Annoncen-Expedition und Reklame-Büro,” advertising expedition or agency. My great uncle Rudolf Löwenstein was the local General Agent for the largest German advertising expedition, Rudolf Mosse & Co., in Danzig [today: Gdańsk, Poland] from around 1905 until his untimely death in 1930. Other than being inspired by my great uncle’s involvement in advertising, this post has nothing to do with my family’s history.
This article is about plaster-postered pillars invented in Berlin in 1854. In German, the advertising columns are known in the plural as Litfaßsäulen. Though I have no reason to believe that my great uncle was involved in the placement of advertisements and posters on these columns on behalf of his clients, it stands to reason he might have been, particularly as a provider of a full-service advertising campaign.
The columns have a colorful history and have even entered the realm of pop culture; more on this below. Though quickly being removed and disappearing from the German cityscape, a low-key, grassroots movement has arisen to save them from removal; it has sparked a fad of writing messages, poems, and heartfelt tributes on the columns, and having two or three people group hug a Litfaßsäule to highlight a reluctance to let them go. I remember having come across these advertising columns during multiple European trips and imaginatively being captured by their quirky, bulky shape. For this reason alone, I’ve decided to make them the subject of this post and explore a little of their history.
A Litfaßsäule is a tall cylindrical advertising column, roughly 3 meters high (i.e., ~ 9 feet), usually placed on sidewalks. (Figure 1) Although several European cities use this type of structure for advertising, they were invented in Germany. The word Litfaßsäule is uniquely German. It comes from the words Litfaß (pronounced Lit-fass) and Säule. The word Säule means “column” or “pillar.” Litfaß is not actually a German word, but instead the surname of the man who ostensibly invented this type of column, the German printer Ernst Litfaß (1816-1874) in 1854. Litfaß was not only a printer but also an actor, poet, impresario, and events manager. He made most of his fortune as the “Reklamekönig,” or advertising king, during the industrial revolution of the mid-19th century.
The Litfaßsäule and the concept of public advertising behind it was inspired by a trip Litfaß took to Paris in 1843. He was completely taken by the advertising he witnessed there, the unlikely inspiration being a circular pissoir bedecked with advertisements. Litfaß saw an opportunity where others saw only a public toilet. Another purported source of inspiration was supposedly advertisement columns in England that were lit with a lantern from the inside and drawn around the city on a wagon. So, while Litfaß did not per se invent advertising columns, he promoted the idea of permanent, cylindrical pillars.
In mid-19th century Berlin, advertisements, signs, notices, and political announcements were randomly affixed to trees, building facades, and what have you. Things looked completely disorganized. Appalled by these excessive and random postings, Litfaß suggested to the chief of police of Berlin that columns be erected all over the city on which people could hang their posters. Perhaps he deemed that these columns would fulfill or contribute to Germany’s stereotypical orderliness?
After years of negotiations, Litfaß received the first permit for his “advertising columns” on December 5, 1854. He received a monopoly from the city of Berlin for the erection of his columns that was valid until 1865. In 1855, the first 100 advertising columns were erected in Berlin and named Litfaßsäulen in his honor; another 50 columns were erected in 1865. In exchange for the monopoly, the contract also called for the installation of up to 30 public urinals in exchange for the monopoly, though none were ever built.
Initially, Litfaßsäulen were used to advertise cultural events. To ensure that no inappropriate ads were posted and that the posters were hung in an orderly fashion, an inspector was responsible for examining the columns daily.
The authorities and advertisers quickly recognized the advantages of the new advertising medium. The state could censor the content beforehand, while advertisers who purchased space were assured their advertisements would remain uncovered and visible for the entire rented period without being pasted over.
Created in Germany, the advertising medium quickly spread to neighboring European countries and eventually to the rest of the world. Paris got its own version of the ad pillars in 1868, where they are called “colonnes Morris,” Morris columns. They were named after the printer Gabriel Morris who implemented an idea like his German counterpart’s.
The columns took on a new purpose in 1870 when the Franco-German war broke out. Litfaß convinced city leadership that these columns, typically located in central locations and busy plazas, would be an ideal place to disseminate crucial information about happenings on the Front. It’s not entirely clear to me whether this condition that the latest news be published on the columns originated from the outset of the 1854 monopolistic arrangement or evolved over time. Regardless, an advantage is that people could gather around these columns and catch up on ongoing wartime developments much quicker than from newspapers, which took longer to print. Interestingly, Litfaß was also given the monopoly by the Prussian Emperor to print so-called Kriegsdepeschen, telegrams from the Front, and post them on his pillars.
After the two world wars, the columns were used to post notices by people looking for missing loved ones, as well as help-wanted ads for rubble clean up, as well as other public advertisements. Modern Litfaßsäulen publicize concerts, performances, and other cultural events from around the city.
Until 2019, there were slightly more than 2,500 columns remaining in Berlin. However, since then, many more have been removed. Historically, Berlin’s Litfaßsäulen were spread throughout the city from the busiest plazas to the most remote suburbs. The city plans to preserve 50 of the classic columns as historic monuments. Part of the justification for their removal is they require constant upkeep, for example dealing with erosion caused by dogs urinating against them. An upkeeper’s nightmare but an archaeologist’s dream is that periodically the columns need to be scraped after an average of 150 layers of posters have been pasted on them! Suffice it to say, archaeologists have a way of individually separating and reading those layers and, so inclined, could learn a lot from their study.
Ironically, while the traditional columns will effectively be removed, a new company from Stuttgart has acquired the advertising rights for 15 years to build 1,500 new columns of a newer type that will be larger and have lighting.
Germany’s most famous Litfaßsäule is in the Berlin district of Wilmersdorf. It was featured on the cover of a 1929 German children’s book, entitled “Emil and the Detectives” by Erich Kästner. (Figure 2)
In Vienna, Austria, numerous advertising pillars in the vicinity of the Vienna River cover the stone spiral staircases leading to the surface from the depths; they protect unauthorized entry into the understructure. The advertising columns are equipped with a door that can be opened from the outside with a key and from inside without one. In a 1949 Orson Welles film, entitled “The Third Man,” the protagonist Henry Lime escapes into the Viennese sewers through an advertising column. (Figure 3)
Another use of the advertising columns has been practiced in Nuremberg, Germany since 2015. Public toilets have been installed inside which can be used for a small fee. In Görlitz, Germany, on the border with Poland, the mayor has tried to stem their demise by looking into their possible use as 5G signal masts. Since 2021, in Düsseldorf, Germany, the historic advertising pillars are already being used for this purpose. They have a barely recognizable door that provides access to the technology, and an aluminum-colored radio mast “hood,” reminiscent of a woman’s hat from former times. These 5G signal masts improve reception and provide higher network stability within a radius of 400 meters (i.e., ~1,300 feet).
A 1979 German stamp (Figure 4) and 2016 20 Euro German coin (Figure 5) have been issued to commemorate Litfaßsäulen.
As I end this post, I’m reminded of the words in Joni Mitchell’s 1970 song “Big Yellow Taxi”:
“. . .Don’t it always seem to go
That you don’t know what you’ve got ‘til it’s gone
They paved paradise, put up a parking lot”
As Litfaßsäulen disappear from Europe’s cityscapes, there’s a nostalgia and a perceptible sense of loss that reminds people of an earlier time.
RESOURCES
Connolly, Kate. “Last stand for Berlin’s ageing concrete advertising pillars.” The Guardian, 31 March 2019.
Hucal, Sarah. “Berlin’s classic ad columns to disappear.” Deutsche Welle, 29 January 2019.
https://www.dw.com/en/berlins-classic-ad-columns-to-disappear/a-47282094
Litfaßsäule. Wikipedia.de, 26 March 2025.
https://de.wikipedia.org/w/index.php?title=Litfaßsäule&action=history
One of the First Advertising Columns Designed by Ernst Litfaß in Berlin (c. 1860), published in: German History in Documents and Images, 11 February 2015.
One of the First Advertising Columns Designed by Ernst Litfaß in Berlin (c. 1860) | German History in Documents and Images
Rieper, Anika. “The Litfaßsäule—Advertising Pillar Named After its Inventor, Ernst Litfaß. More than Beer and Schnitzel, 11 February 2023.
https://morethanbeerandschnitzel/author/anikarieper
The German Embassy In Washington, D.C. “Word of the Week: Litfaßsäule.” 26 January 2018.