{"id":6329,"date":"2018-08-20T11:39:00","date_gmt":"2018-08-20T09:39:00","guid":{"rendered":"https:\/\/www.humboldtforum.org\/magazin\/artikel\/skulpturen-erzahlen-geschichte\/"},"modified":"2020-05-22T17:25:16","modified_gmt":"2020-05-22T15:25:16","slug":"sculptures-tell-their-stories","status":"publish","type":"magazine-article","link":"https:\/\/www.humboldtforum.org\/en\/magazine\/article\/sculptures-tell-their-stories\/","title":{"rendered":"Sculptures tell their stories"},"content":{"rendered":"
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Like the entire Berlin Palace building, its sculptures also reflect the stylistic transformations and thematic concerns of the various epochs. Early and high Baroque sculptures from the Schl\u00fcter workshop stood before the gates alongside late classical and Neo-Baroque figures on the freestanding columns.<\/p>\n

As parts of the facades and portals, these sculptures crowned the architecture and reflected the aspirations of the palace owners. And so it was that a veritable who\u2019s who of Olympians posed on the columns of portal VI on a level with the first floor in the former Residence Courtyard, the so-called Schl\u00fcter Courtyard: Apollo, Jupiter, Antinous, Meleager, Heracles, and Hermes framed by the figures of Pax and Borussia, the patroness of Prussia.
\nFour female figures dating from the eighteenth century stood on each of the side gates I and V. To this day, art historians are at odds as to their significance. As the current reconstruction progresses, they are increasingly of the opinion that it was simply a kind of outdoor museum for the classical sculptures then en vogue. We see, for example, Flora from the Farnese Collection in Naples or Fran\u00e7ois Duquesnoy\u2019s Saint Susanna from Rome\u2019s Santa Maria di Loreto church. The Borussia is a nearly identical copy of Bernini\u2019s Matilda of Tuscany from Saint Peter\u2019s Cathedral in Rome.<\/p>\n<\/div>\n <\/div>\n <\/div>\n\t\t<\/div>\n\t\t <\/div>\n<\/section>\n\n

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