Journal for immersive art: panorama, literature, theatre, visual art | Issue 4 | English – SPECIAL EDITION –
‘Pergamonmuseum. The Panorama’ – Interview with the Director of the Collection of Classical Antiquities ‘Art of the Gods – The roots of ancient theatre’ ‘Pergamon in ancient Greece – Bergama in Turkey’ ‘The Altar – A true literary discovery’
2 Editorial
A work so grand and magnificent... had been returned to the world! Carl Humann 1880
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Dear readers,
Berlin has a new PERGAMON panorama. Look out of
And you could talk to them. Whether it was the question
the window on the S-Bahn between Friedrichstrasse
of a good harvest or business success, travel and health
and Hackescher Markt, and you can’t miss it. And
– supposedly, with the right gifts and offerings, some
after everything we have seen from him – with this, his
things could be controlled. The Director of the Collection
latest panorama, Yadegar Asisi has outdone himself
of Classical Antiquities, Andreas Scholl, also talks about
once again. The size of the image, of course, the new
this in our interview. That people worked on the basis
sharpness of detail, and the latest lighting and sound
they had to give the gods something in order to receive
technology make it a spectacular, even bombastic visual
something in return. It sounds naive at first. But maybe
experience. The image on the next double page gives
we should envy the Greeks a little, too. Okay, we now
you an impression.
know more things. For instance, we know where thunder and lightning come from – for the Greeks, they were the
The sensational spectacle known as ‘PERGAMON –
sons of Uranus, Steropes and Brontes. But do we handle
Masterpieces from the ancient metropolis and 360°
life’s big questions and the world’s evils any better? Even
panorama by Yadegar Asisi’ is a collaboration between
if we no longer explain them as the opening of Pandora’s
the Staatliche Museen zu Berlin (Berlin State Museums)
box?
and the artist Yadegar Asisi. The Pergamonmuseum is undergoing renovation works planned for completion in
The Pergamon panorama is a fantastic depiction of
2024. Until then, the famous altar will remain hidden by a
this time. And we are transported there as if by a time
giant wooden crate in the midst of the construction work.
machine. The people are celebrating a festival in honour
But the panoramic image keeps it in the Berlin public
of the god Dionysus. As the god of wine and pleasure,
eye. And in this edition of ThreeSixO, we’re giving you
he was also responsible for ecstasy and rapture. And
a taste of it already. For one thing, visitors can view a
theatre, too. For four days at the end of winter, this crazy
spectacular panoramic image of Pergamon as a key
feast gave people the opportunity to let loose without
metropolis of ancient Greece. At the same time, the show
being punished. (Today, Dionysus might be the god
exhibits the most beautiful pieces from the treasure trove
of football, carnival, or music festivals.) Intoxication
of the Berlin Collection of Classical Antiquities, which are
serving as religious worship. The subsequent hangover
presented in a whole new light. Not only in a technical
was a matter for Apollo, the god of peace, spring and
sense. It’s truly enlightening, too.
temperance. The idea of the Festival of Dionysus as the origin of theatre as we know it today is something that is
After all, don’t you sometimes walk through large
also touched upon in Thomas Irmer’s article. The Berlin
museums with antiquities collections and think: ah, a
theatre scholar writes about theatre, art and literature
marble bust, who’s that then? Oh yes, it says on the little
for international specialist publications. As mimesis, as
sign. It’s Hercules. And what about this head with its nose
imitation of nature on stage, theatre was an immersive
missing? I don’t know. Ah well, I don’t need to know. And
art form. People loved it. They followed along emotionally
why is the armless Venus in a high-security area? Behind
with the action on stage and took it with them as personal
glass next to it: vases, vases, vases, fragments. Figures
experience into their everyday lives.
and scenes. Everything lined up next to each other and on top of each other and everything looks somehow the
We also present a new book. The Altar is a German
same. And then you think to yourself: so where’s the
novel by Ralf Nürnberger. It tells the story of the
café?
Pergamonmuseum in Berlin in a whole new way. The citizens of 19th-century Berlin turned the Pergamon Altar
The people of antiquity were made of stronger stuff. They
into one of their most important icons and built it its own
believed in an all-encompassing devotion to the divine.
museum. The book tells this story. And before you delve
Every human mood, every weather condition, every
into this novel or the PERGAMON panorama in Berlin,
event – everything was personified as a deity.
I hope you enjoy this issue of ThreeSixO. Happy reading!
Juliane Voigt
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photo: Tom Schulze ©asisi
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6 Pergamonmuseum. Das Panorama
Pergamonmuseum The panorama Interview with the Director of the Collection of Classical Antiquities of the Staatliche Museen zu Berlin, Andreas Scholl
This is your second PERGAMON exhibition with the artist Yadegar Asisi. The first time, back in 2011, the interplay
between
archaeological
exhibition
and
panoramic image proved to be a perfect combination. In your opinion, what makes it such a resounding success?
AS
What fascinated me from the very beginning was
is now an integral part of the tour and the exhibition includes
that the panorama is a medium that is capable
new works by Yadegar Asisi which are linked to the exhibits
of really bringing the visitor into the citadel of Pergamon.
in an artistic and informative way.
They’re given the whole picture – in the truest sense of the phrase – which is something an archaeological exhibition
He uses a wide range of techniques and styles to create
can never achieve. However, I was really surprised by
these. It allows him to make a huge drawing of the
the strong emotional impact of the image. An astonishing
monumental female figures in front of the Pergamon altar
number of people were literally moved to tears. We were
look like a reconstruction from the late 19th century. He also
also braced for much more criticism from academic circles.
uses the latest technical possibilities for his enlightening
But even the driest colleagues were excited.
visual depictions, which interpret the works of art in their own way. For example, a complex light projection simulates
With this new edition, to my mind, the appeal of the
the ancient colour of a marble statue that is now all white
panorama has again increased significantly. The image is
much more attractively than a painted plaster cast. We
now much more monumental – the spatial impact of the
now know for sure that almost all ancient stone sculptures
panorama truly depends on its size – and the vast majority
were originally multi-coloured. As well as Asisi’s drawings,
of people have never seen such a vast image before in
there is an extremely intricately designed digital model that
their lives. Today, we mostly watch moving pictures on our
takes the viewer on a smooth camera journey out of the
smartphones, tablets, films, on TV. Everything whooshes
Pergamonmuseum and to the Pergamon citadel, clearly
by. Suddenly you’re exposed to this perfectly still image that
showcasing the location and architecture of the Great Altar.
has an impact on you from all sides and whose powerful presence is also dramatically enhanced by the tremendous theatrical lighting and accompanying music. In comparison to the 2011 show, we were able to create the exhibition and panorama as much more of a cohesive whole. The panorama
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The Collection of Classical Antiquities of the Staatliche Museen zu Berlin is among the world’s most important collections of ancient Greek and Roman art. Its most important exhibit is the monumental Pergamon Altar, which is over 2,000 years old. A masterpiece of Hellenistic art, its expressive sculptural frieze depicts the battle between the gods and the giants. Since 2004, Prof Andreas Scholl has been the Director of the Berlin Collection of Classical Antiquities.
In the panoramic image, the altar plays a prominent, central role, alongside the sanctuary of Athena and the Greek theatre. As a scholar, to what extent do you contribute to the physical structure and all the trappings of scenery?
AS
Of course, Yadegar Asisi makes the biggest
a certain extent. But we delivered everything that occurred
contribution to the overall image. It’s his work.
to us. Of course, we know scenes of sacrifice and similar
But – as in 2011 – we had a massive influence on almost
things from the images on Greek vases. There are
every detail of the archaeological reconstruction. However,
descriptions in ancient literature, there are long inscriptions
for this new edition, there were many points of reference
that say quite precisely what needs to be sacrificed when,
for approaching a critical revision of the panorama. For
so you do have sources. But nevertheless, I can’t get
instance, Yadegar Asisi has now cleared the altar’s inner
from that a – how can I put it? – photorealistic impression
courtyard of blooming bushes, as he has now had the time
of how it actually looked back then. But of course, that’s
and opportunity to add the Telephos Frieze. This was not
exactly what the panorama suggests. To the extent that
possible the first time around for reasons of timing. The
it involves a great deal of photographic material, using
content of the small frieze, however, is very important, as it
extras. That’s problematic, of course, but the much worse
tells Pergamon’s highly complex and completely fabricated
alternative would be a sterile scene devoid of people. As
founding myth, which the kings, as newcomers to ancient
an artist, Asisi has fewer reservations in this regard than
Greece, had experts come up with. They wanted to latch
we researchers do. Using the contemporary genre figures
on to the oldest layers of Greek culture. Their clever
from Hellenistic-era sculpture that we put together for him,
mythographers concocted this completely crazy story and
he was able to reconstruct many scenes and place them
then carved it into stone for eternity. The only half-preserved
in the image. Of course, as archaeologists we can often
small frieze is now clearly visible in the panorama image in
only supply vague information, such as when it comes
the courtyard of the Great Altar. Some missing parts are
to the colours of ancient sculptures, which are proven to
covered by the rising smoke from the burnt offering. This
have been very bright. For example, we don’t know about
makes the overall depiction of the inner courtyard much
the colouring in the full Pergamon Altar frieze. Here, we
more accurate than it was before, and makes it easier
could only refer Asisi to sculptures that have kept some
to understand. For other questions, we also received
of their colour. He then took the bold step of completely
suggestions from the German Archaeological Institute
reconstructing the altar’s north frieze and presenting it in
in Istanbul. Pergamon’s excavation director, Felix Pirson,
colour. His vast visual reconstruction of the north frieze
had very specific requests for changes which were then
is now on display in the rotunda. It shows the visitor very
incorporated into the image, for example concerning the
clearly how Asisi used his artistic intuition to fill in the gaps,
houses on the hillsides or the natural sanctuaries.
taking archaeological findings into consideration. Despite all the evident difficulties, this reproduction is by far the
Of course, what is much trickier and more questionable than the archaeological reconstruction of topography and architecture is all the living action. All of the scenes in the image are completely invented. But of course we tell people that, too. From a historical perspective, it is only possible to capture exactly how people looked and lived in antiquity to
most convincing that has ever been attempted.
8 Pergamonmuseum. Das Panorama
Your exhibition surrounds the panoramic image and
The Staatliche Museen zu Berlin are taking advantage
shows a large number of original works of art from
of this interim exhibition, which is anything but a
the Collection of Classical Antiquities, including the
temporary solution, as a way to bridge the long
Telephos Frieze, which we have mentioned. There’s
closure for construction works of the Altar Hall in the
also a group of life-size female figures which most
Pergamonmuseum. The original Pergamon Altar will
likely surrounded the Pergamon Altar. Will there be
only be available to view when its exhibition space is
something new for visitors to see?
reopened in 2024. Without the initiative of the Collection
AS
of Classical Antiquities, this show would never have We are actually showing all artistically significant sculptures from Pergamon that made it to Berlin,
apart from the original of the Great Frieze, which had to stay in the Pergamon Museum. The sculptures on show are being presented in quite outstanding condition after a long
come to be. What was your motivation?
AS
We archaeologists do usually have a relatively matter-of-fact
view
of
ancient
times.
Of
course, we get excited about particular works of art too,
period of restoration. They certainly haven’t looked this good
and Pergamon sculpture is some of the best that Greek
since ancient times. The new layout and lighting set-up in
sculptors ever produced. However, we are most of all aware
the hall also gives lots of sculptures a completely different
that we are looking after an important piece of the world’s
effect from how we know them from the Pergamonmuseum.
cultural heritage on Museum Island, which needs to be
For instance, the Telephos Frieze suddenly looks much
accessible to the public as much as possible and should
bigger, as its ‘Room within a Room Installation’ gives it a
be explained appropriately. Here, our new building, with
completely different visual frame of reference. Now, instead
the panorama integrated into the exhibition, simply gives
of being presented in diffuse daylight, it’s lit by spotlights
the visitor a captivating and easy-to-grasp introduction.
that make it look uncannily vivid. There is also a daylight
Without having to travel to Pergamon themselves, visitors
composition created by Yadegar Asisi, in which the ceiling
are transported to the citadel in no time at all and can take
of the ‘Telephos box’ and the wall opposite change in the
in the dramatic landscape as well as the most important
way they might have in natural sunlight on the citadel. This
buildings in a panoramic view. Then there’s the theatrical
is intended to give the viewer an idea of how the sun’s
element, which Yadegar Asisi has a very strong feel for.
constantly changing position might have affected the
You can really feel that he has created sets and dealt
impact of the relief in the altar courtyard and how the image
intensively with the practice of theatre. His understanding
of the sculptures changed from minute to minute.
of production and impact plays an important role here, which is also particularly emphasised by the fully theatrical
We’ve also selected objects that mutually shed light on
and dynamic lighting of the panorama and the incredibly
each other and are representative of our collection. The
atmospheric soundtrack by Eric Babak. In combination with
sculptures we show were almost never purely for decoration.
our scientific, objective approach, this seems ideal to me,
In many cases, they had other functions and made a
whereby the new presentation of the Pergamon sculptures
specific, substantive statement. The group of large female
is presented and shaped in a much more compelling
figures, who now welcome all who enter, were already big
way by the Asisi team’s artistic skill than in our restrained
and expensive works of art back in ancient times. At the
permanent exhibition in the Altes Museum.
same time, however, they are most likely statues in honour of priestesses, citizens or personifications of abstract
Of course we hope that in taking this kind of approach, which
concepts. They were always intended as valuable offerings
in my eyes is aesthetically very attractive, we can bring
to the gods. As agalmata, as brilliant works, they were
people who would otherwise never come to a museum face
intended to delight the gods, but at the same time, they
to face with classical antiquity. Many will come first of all to
were also a plea for their favour. This principle, whereby I
marvel at the panorama and will then also experience the
give something to a deity and, in a relatively mechanical
magnificent ancient sculptures and perhaps come face to
understanding, expect to receive something in return, is a
face with Greek art and ancient culture for the very first time.
key cornerstone of ancient Greek religious ideas, and these
In this regard, I would be particularly delighted to interest
things are also addressed. Asisi returned these particularly
schools in Berlin and Brandenburg, as the panorama had
lovely sculptures to their original context in a large painting,
a very exciting impact on children and teenagers back in
assisting with the visitor’s reading. Of course, these figures
2011. Now, the intricate virtual depictions of the Pergamon
also appear in the panorama image and the attentive viewer
Altar are added to the exhibition, which are shown in
will be able to spot them there.
cinema format and correspond with the viewing habits of the younger generation. In any case, we would like to have as many young visitors as possible!
Exhibits from the Collection of Classical Antiquities, Staatliche Museen zu Berlin (Berlin State Museums), photos: Š asisi
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Text: Thomas Irmer
Holy Seriousness The origins of theatre in Antiquity In 129 CE, the Greek theatre in Pergamon was already
who are commented upon and chastised by them. With
over three centuries old. It was built by order of the
this development, the ceremony left the grove for its own
ruler Attalos I for an audience of around 10,000 and
specifically created theatres. What we know as ancient
has all the hallmarks of a classical Greek amphitheatre.
Greek theatre, culminating in the traditional tragedies
The steeply rising semi-circular audience rows take
of Aeschylus, Sophocles and Euripides from the
advantage of the natural hillside (300 metres above sea
5th century BCE, is the endpoint of a long development
level), as in the famous Theatre of Dionysus beneath
that touches on the roots of European theatre. From
the Acropolis in Athens, or what was once the biggest
the 6th century BCE, therefore, in the Dionysian spring
theatre of antiquity (audience of 15,000) in Syracuse,
celebrations in honour of Dionysus, religious rites and
Sicily. These giant open-air theatres are the result of
state ceremonies were practically interwoven, and
a long development whose roots lie in ritual dancing
the theatrical performances established following a
and singing in honour of Dionysus, which was done in
certain period of time were a key part of this annually
ecstatic homage to this god of wine and fertility. There
recurring event, which led to the blossoming of theatre
is no doubt that a grove was the natural setting for these
and drama in Athens, but which was also the practice
rites, a sanctified piece of forest that was able to hold
in other city states of the time, such as Syracuse. On
such gatherings and was chosen for other aspects of
three consecutive days, four plays each were staged by
the landscape, such as the sea view. In this spirit, later
a dramatist. On the fourth day, there were five comedies
Greek theatres were often clearly anchored in landscape
by different writers. Four days of theatre in total. Citizens
and nature, which shaped their overall experience.
didn’t just have free entry to this event, which also took
Pergamon, too, offers almost textbook examples of the
the form of a writers’ competition. As conscientious
integration of the theatre between town and countryside.
citizens, they were encouraged to go. Today, seeing 17 new pieces – albeit with material familiar from
The ecstatic singing and dancing developed into a choral
mythology – in four days would probably push some
form of ceremony, and, if we accept the view of the birth
professional festival attendees to their limits. As part
of ancient drama proposed by Nietzsche, this is followed
of the Dionysia, these theatre cycles of seven to eight
by tragedy, with characters placed opposite the chorus
hours (in daylight) were seen as the high point of the
The ancient Pergamon theatre, watercolour, Yadegar Asisi, 2010
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The chorus of Greek tragedy, the symbol of the mass of the people moved by Dionysian excitement, is thus fully explained by our conception of it as here set forth. Whereas, being accustomed to the position of a chorus on the modern stage, especially an operatic chorus, we could never comprehend why the tragic chorus of the Greeks should be older, more primitive, indeed, more important than the “action� proper... we have learned to comprehend at length that the scene, together with the action, was fundamentally and originally conceived only as a vision, that the only reality is just the chorus, which of itself generates the vision and speaks thereof with the entire symbolism of dancing, tone, and word.
Friedrich Nietzsche, The Birth of Tragedy (1872)
The ancient Pergamon theatre, watercolour, Yadegar Asisi, 2010
12 Holy Seriousness – The origins of theatre in Antiquity
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festival calendar – the theatre festival as an exception from everyday life and one of the cornerstones of our culture, which still has an impact to this day. What took place in the Pergamon theatre, which was only built after this flourishing period, right after it opened, is not known. The example of the Athens Acropolis with the spacious theatre beneath it, close to several temples, leads one to suspect that its use must not have been dramatically different from that of the one in the metropolis across the Aegean. Perhaps you could see tragedies and comedies here by writers who were esteemed by their audience but are unknown to us today. Without doubt, this theatre is not just one of the major works of Greek architecture as a whole. Its position and size also indicate its key significance within the city-state. It doesn‘t take a great deal of speculation to imagine how theatre on the Greek periphery was transformed under Roman rule and particularly during the Empire. The tradition of the Dionysia and similar festivals disappeared and their ritual roots were buried in theatrical culture, just as the performance of tragedies anchored in Greek mythology vanished. Instead, a culture of spectacle, now linked to the Roman calendar, entered the ancient Greek venues, which were converted for this purpose, even though the general character of these places remained. In the case of the Pergamon theatre, the wooden stage house was replaced with a stone skene and the orchestra (the semi-circular stage in front) was turned into a defined arena. Both were used for the gladiator battles and animal baiting that were now popular. However, there was of course no space for the equally popular chariot racing here. Nevertheless, it must be pointed out that theatre in Pergamon as a whole remained the largest public events space in Roman times, which filled up again and again with people from different levels of society. The theatre, which once came from nature with Dionysus, claimed its place in urban society, and was in constant transformation. Between an animal sacrifice, ecstatic song and celebration of the written word as theatre’s benchmark – until today.
THOMAS IRMER born 1962 in Potsdam, completed his degree in German and English Studies at the University of Leipzig in 1988. After receiving the Fulbright scholarship at SUNY Buffalo in New York, Irmer completed his doctorate at the University of Leipzig in 1994. After concluding his editorial role on Theater der Zeit in Berlin, he is now a critic with Theater heute and has been a writer and publisher for Theater der Zeit since 2015. He also teaches American drama at the Kennedy Institute, FU Berlin. Since 1988, he has contributed articles on literature, art and theatre for a variety of international specialist publications. Since 1996, he has made various TV contributions for MDR, ntv and 3sat.
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Pergamon in ancient Greece Bergama in Turkey
There are just under 70,000 people living in Bergama.
on their overloaded wagons and ride down the streets,
As well as the usual urban concrete, which eats into the
kicking up dust with their carts pulled by galloping
bare sand-coloured mountains of the coast of Asia Minor,
mules. Traders hold up wriggling, fidgety chickens or
there is also a historic old town. Yet on many houses
haul skinned mutton hides, trays of vegetables or flour
here, the shutters swing and creak. On side streets, the
sacks on their shoulders, bent from the daily burden.
wind rolls big clumps of tumbleweed through the dust,
For them, the day begins before the sun comes up. In
the low houses look out of windowless holes, where cats
his cafĂŠ, Esref, a friendly 90-year-old man, brings the
and humans squint in the afternoon heat. Old people
plates over slowly, where a big pot of wonderfully warm
doze on the steps in front of buildings. A few times a day,
milk is bubbling with honey. Here, there is sweet tea and
the muezzin’s call to prayer breaks the silence. As the
kaymak, hard-boiled eggs, white bread, and all kinds of
days pass, however, the blur of this chant soon becomes
new things.
the soundtrack of a time that is still shaped by people and their leisurely activity.
The historic market was never just a place to pick up lettuce and grapes, but an agora, a place for sharing
Every Monday is market day. Local traders and farmers
opinions, for daily discussion. And there’s thick cigarette
come into town. Horsepower seems to make an
smoke in the public writing room. A man taps away with
impression here, too: the men lean back with taut reins
two fingers on an old typewriter. Each word is a matter of
in their hands on colourful kilim carpets they have laid
animated discussion by all present. Boys duck through
Bergama old town with view of the citadel, Š asisi
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16 Pergamon in ancient Greece – Bergama in Turkey
the moving crowds balancing tea trays on hooks. Black
ruins have always been there and will remain when they
tea that sparkles in the small glasses like liquid amber.
themselves are gone. The simple presence of Pergamon
There are public baths in a 500-year-old hammam.
high above the town, however, gives it an identity. It is
Small bakeries, simple cafés and a few shops selling
something they hold on to. The citadel’s aura makes time
household goods and modern toiletries. And carpet
stand still in a mysterious way. The hands of the few public
sellers, of course. Wealthy, colonial Europeans with their
clocks, if they aren’t moving imperceptibly backwards,
turbo-charged capitalist misery can only kneel in shame
seem at least to stand still. Do the ancient ruins guard
before the opulence of this simple life.
against pointless progress and the destruction of
Ancient ruins in Pergamon, © Gerhard Westrich
our cultural landscape? A condition of uninterrupted The ancient old town dates back to the 15th century and
unconsciousness and mental space gives the irrational
is right at the foot of the citadel. It is the gateway to one
impression of being in a space and time warp. But it’s
of the best-known sites in classical Greek antiquity. The
deceptive – the region and the people are simply poor.
odd sign points this out, as the Pergamon excavation
Since the beginning of the Turkey crisis, tourists have
site is a UNESCO World Heritage site. Yet the people
stayed away. Sometimes, the citadel is almost devoid of
of Bergama have an unpretentious love of their antique
people. Bergama is struggling with the decline. Many
ruins. Its sensational value is almost by-the-by. The
people make their living from Pergamon. The decline in
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visitors is a financial disaster for the city and its residents. Just a few years ago, a cable car was built to take tourists from the valley to the mountain, so tour buses would stop
All great things are imperilled and fragile.
struggling through the cramped old town. An investment that isn’t paying off. The hoteliers, too, are struggling to rent their rooms. Recently, artists and intellectuals from Istanbul are discovering the liberally governed west of Turkey, settling here and renovating the houses in the old town, at risk of collapse. A trip to Bergama is a wild and romantic trip 100 years back in time. But it won’t be for much longer. The town is slowly regenerating, again by itself. The lesson to learn is that Bergama is in Turkey.
Plato in the Republic
Pergamon in ancient Greece. Following the expeditions for Greek antiquities, in the early 19th century, the rediscovery of Hellenistic antiquity began in what was then the Ottoman province. The first cultural tourists appeared in the town, climbed the hill, told people in Europe about it, until archaeologists began to uncover old Pergamon. Excavations, research and analysis are still taking place to this day. Germans are involved, too. Pergamon is a massive site. It was a Greek metropolis for centuries. 150,000 people lived here. Nothing was ever built on top. Just abandoned. But for a long time, antiquity lay here undisturbed in eternal rest, sprawling in the most graceful dilapidated beauty. There are columns lying there as if they were rolled into place 1,000 years ago, marble ruins, remains of statues and fragments are tangled among thorns and tumbleweed. ‘All great things are imperilled and fragile.’ Plato’s words are from a time when Pergamon was still forming and the Greeks were overwhelmed by the monumental nature of the Acropolis in Athens. The Greek philosopher was speaking of the subject of the monumental itself. All great things get broken one day. All that remains are ruins. This can be safely assumed. And ultimately, you collapse yourself like a falling pillar and are almost overwhelmed by a centurylong nap as if it was a numinous ritual, lulled by a narcotic concert of cicadas. But wait! According to mythology, cicadas are the descendants of charmed people who were made to forget themselves by the muses’ beautiful song, so much so that they starved to death. In their insect reincarnation, they can now sing without having to eat or drink. But: they tell the muses if someone is sleeping at noon instead of occupying themselves with spiritual matters. Watch out for them. There’s no question that muses and gods haunt the Pergamon ruins!
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The Altar A true literary discovery
It’s actually a crime novel. Although, of course, it’s
almost 150 years ago, and will have to spend before it is
a long way from the literary genre as such. But even
ultimately finally presented in the new Pergamon Museum
knowing the outcome of the whole enterprise, this book
– it should be ready from 2024, construction gods willing
is a thrilling read. How will it all end? Not only does the
– are unimaginable. But we’re not talking about money.
author know how to leave plotlines hanging; he also
It’s about feelings. About the sublime for its own sake.
turns thrilling conceptual corners. Yes, this novel also contains a love story. And yes, it does have a happy
Ralf Nürnberger opens his novel The Altar with a
ending. The blossoming love between two young hearts,
resplendent military parade. On 18 January 1871, the
Fritze and Riecke, whose lives are touched by the events
Prussian King William I becomes German Emperor. From
surrounding the hustle and bustle of antiquity in Berlin.
a historical perspective, there are a range of aspects that
But this also tells us a bit about the societal and political
are noteworthy about this. However, in his portrayal of
trends of the late 19th century in Berlin. However, this
this defining event of the late 19th century, he focusses
book is most of all about a marriage of two greats:
quite practically on a range of incidental obstacles. The
the Pergamon Altar and the cool, couldn’t-care-less
fact that the old man, first of all, is not particularly excited
Berliners. How to get these two together!
about the imperial pomp that surrounds him. And then, plagued with gout, climbs onto his horse with great effort,
As well as the obsessively researched details of the
and rides away from the entire meaningless parade.
circumstances of the altar’s discovery, excavation and
Following the capacious rear of the steed belonging
installation in Berlin, Ralf Nürnberger tells the story of the
to his Prime Minister and Imperial Chancellor Otto von
Berliners’ legendary pride. Even if, to the lay person, it’s
Bismarck. This removes the imperial German national
simply about dead stone. These marble blocks, statues
tripe from the whole episode. Yet it’s worth playing Richard
and rubble sent all layers of society into a frenzy. The
Wagner’s Emperor Waltz, as he composed it for this
kind of thing people working in museums could only
occasion, and this creates an immersive experience for
dream of today. What modern-day Berliner has even
the reader, albeit with a slightly cabaret feel. Nürnberger
been to the Pergamonmuseum, except for maybe on a
lingers over this epic military parade primarily to create
school trip 100 years ago?
a visual panorama. A panorama of the nascent imperial
This book, written by a Berliner-by-choice, helps us
capital, Berlin. The City Palace is the splendid backdrop,
understand, probably for the first time, what it cost us
Friedrich Schinkel’s cathedral, which would later be
to have the Pergamon Altar in Berlin. A treasure. In non-
replaced by the great Berlin Cathedral, the National
material terms. Yet the costs in, say, old German thalers,
Gallery site, the Bauakademie, the triumphal avenue of
that Berlin has spent since taking possession of the altar
Unter den Linden – all ultimately frippery in the face of
19
the complicated transfer to Germany, to Berlin, where still nobody knew where to put them. After all, there was still no museum for them. In Bergama, however, as elsewhere in the Ottoman provinces, antiquities were at risk of being reused as building material. And this still feels like a fascinating adventure, albeit fictional in many places. Not because the men displayed the ambition of two cunning thieves. The Ottoman government readily gave its blessing to the export. But the fact that the altar still remains and did not end up in pieces in the kilns of the mischievous local lime burners or turned into doorframes by philistines is thanks to the foresight and prudence of Humann and Conze. Wrapped up as fictional stories, this book honours their energy in the literal sense. The reader soon begins to fear for every giant’s toe. This is what creates a large part of the tension in this novel. With this book, author Ralf Nürnberger has succeeded for the first time in creating a complex depiction of those events, whose context he shares with his readers in an entertaining way. He guides a broad cast of characters through almost 400 pages. In Bergama, we encounter Carl Humann as an appealing fellow, who as an inveterate Westphalian, would welcome his guests with good German beer. A prudent and cheerful man, who watched Above: The excavation hut on the citadel. Also known as ‘Reichshalle’. Around 1884 Carl Humann is second from left, standing next to him in the doorway: Alexander Conze, Spiritus Rector and Director of Excavation © Collection of Classical Antiquities, Staatliche Museen zu Berlin
the splendour in Paris and London. Prussia’s pomp and
over the treasure on the citadel with an eagle eye. At
circumstance only existed in the proverbial sense and
the same time, at the court of Berlin, the culture-loving
was on the cusp of collapse. It was founded primarily
heir to the throne, Friedrich Wilhelm, pulled the strings at
on military might rather than on ornate aesthetic spirit.
the Kronprinzenpalais to help develop Berlin’s museum
And even though it was largely Napoleon’s looted art –
scene, bypassing the imperial majesty of his father, who,
the whole world looked at the Louvre with undisguised
despite or because of the stubbornness of old age, did
envy. It was time for a metropolis. Not just façades. There
not want to cede control. Among others, Wilhelm Bode,
needed to be something behind it. When it came to art,
the namesake of the Bode Museum on Museum Island,
culture and science, Berlin had a lot to catch up on. So
plays a key, albeit rather unfavourable and ultimately
there we have the driving force.
comic role. With himself as the guiding star, Nürnberger has the old man seeing ghosts at the end. All these
Nevertheless, despite the German government’s desire
events are threaded through the action. And they come
for progress, the fact that the Pergamon Altar is in Berlin
together in the building of the first Pergamonmuseum.
today in its current condition is down to an unbelievable
It took an incredible 20 years before the pieces of the
number of chance events. These began with the shirt-
frieze were actually on show in the museum built in Berlin
sleeved pioneer of this undertaking, Carl Humann,
for the altar.
a transport engineer and amateur archaeologist in
The people of Berlin threw wild Pergamon-themed
Bergama, Turkey, who discovered the first parts of
celebrations. The altar was even on show for a little
the altar frieze, dug them up at his own expense and
while as part of this. Accompanied by a crazed and
sent them to Berlin with the sultan’s kind permission.
joyful parade. With 1,500 people in ancient garb. And
Where, in the archaeological collection of the museum,
a panoramic image showing the altar on the Pergamon
unfortunately, nobody knew what to do with them. The
citadel. The vibrations of the major upheavals of the
few fragments wound up in a warehouse. Today, the idea
20th century were already palpable. Fritze and Riecke
will surely have many archaeologists’ hairs standing on
survived hard times. In this book, they are the catalysts
end.
for the state of the nation. The altar will not remain in its new Pergamonmuseum for long. But that’s another story.
Top left: The Altar – From Pergamon to Berlin. A journey through time A true literary discovery. 369 pages. Hardback. Novel, EUR 13.90 Published late November 2018 ISBN 978-3-945305-05-8
It was Alexander Conze, the director of the royal
That Ralf Nürnberger might perhaps present to us in an
sculpture collection appointed by heir to the throne
exciting second volume.
Friedrich Wilhelm, that first recognised the significance – years later – and ultimately directed, together with Carl Humann, the real in-depth excavations in Bergama and
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