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Bode Museum

1904 establishments in GermanyArt museums and galleries in BerlinArt museums established in 1904Baroque Revival architectureBaroque Revival architecture in Germany
Berlin State MuseumsHeritage sites in BerlinHistory museums in GermanyMuseum IslandMuseums established in 1904Numismatic museums in Germany
Berlin Museumsinsel Fernsehturm
Berlin Museumsinsel Fernsehturm

The Bode-Museum (English: Bode Museum), formerly called the Kaiser-Friedrich-Museum (Emperor Frederick Museum), is a listed building on the Museum Island in the historic centre of Berlin and part of the UNESCO World Heritage. It was built from 1898 to 1904 by order of German Emperor William II according to plans by Ernst von Ihne in Baroque Revival style. The building's front square featured a memorial to German Emperor Frederick III, which was destroyed by the East German authorities. Currently, the Bode-Museum is home to the Skulpturensammlung, the Museum für Byzantinische Kunst and the Münzkabinett (sculpture, coins and medals, and Byzantine art).

Excerpt from the Wikipedia article Bode Museum (License: CC BY-SA 3.0, Authors, Images).

Bode Museum
Platz der Märzrevolution, Berlin Mitte

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N 52.521944444444 ° E 13.394722222222 °
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Museumsinsel

Platz der Märzrevolution
10117 Berlin, Mitte
Germany
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museumsinsel-berlin.de

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Berlin Museumsinsel Fernsehturm
Berlin Museumsinsel Fernsehturm
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Relief depicting a Roman legionary (Berlin SK 887)
Relief depicting a Roman legionary (Berlin SK 887)

A Relief depicting a Roman legionary (German: Relief mit der Darstellung eines römischen Legionärs) is located in the Pergamonmuseum and belongs to the Antikensammlung Berlin. The relief was created at the end of the first century AD and was discovered in 1800 at Pozzuoli. The relief is 159 cm high and 86 cm wide and is made of grey-blue marble. It depicts a Roman Praetorian, a member of the Roman elite forces and bodyguard of the Emperor. He wears a Tunica with the Paenula (a cone-shaped cloak made of linen or wool) over it. The tunica is pulled up to knee height by a belt (cingulum), part of which can be seen poking out from under the paenula. He carries a small shield, called a parma, under his left arm and his sword hangs over his shoulder on the other side. In his hand he holds a short javelin. The praetorian is carved from the background in very high relief. The left edge of the frame had to be restored, but the right and upper edges mostly survive in the original. The relief probably belonged to a triangular base. Sculpture on display in the University Museum of Philadelphia might be fragments of the other two sides. On one of these another praetorian is depicted and on the third there are two legionaries from the northern auxiliaries. It is suggested that this base supported an equestrian statue of the Emperor Domitian, which would have been reworked into a Triumphal arch for Trajan at Puteoli after Domitian's death and damnatio memoriae. The relief was found at Puteoli in 1800 and acquired for Berlin at Rome in 1830.

Grave relief of Publius Aiedius and Aiedia
Grave relief of Publius Aiedius and Aiedia

The Grave relief of Publius Aiedius and Aiedia is an ancient Roman grave relief from the first half of the first century, now kept in the Pergamonmuseum / Antikensammlung Berlin, with Inventory number SK 840 (R 7). It was found in Rome on the Via Appia. It is made of which marble and is 64 cm wide and 99 cm high. In 1866 it was purchased for the predecessor of the modern Antikensammlung Berlin. The inscription under the relief reads: P Aiedius P L / Amphio // Aiedia P L / Fausta Melior Translated: Publius Aiedius Amphio, freedman of Publius // Aiedia Fausta Melior, freedwoman of Publius Publius Aiedius Amphio is identified by the L in the inscription as libertus or freedman of a Publius Aedius. His slave name, the Greek name Amphio, typical for Roman slaves, is retained as his last name. The name of the wife, also identified as a freed slave of Publius Aedius, was Fausta Melior. Therefore, the social position of the pair is clear. The two slaves had gained a form of Roman citizenship on receiving their freedom, but it was of a lower class only, which bound them ever more to their former owner, who was now their patron. Yet they now had the freedom, among other things, to enter into a legal marriage and children produced from such a marriage would be normal Roman citizens. The relief emphasises this situation further. The two are depicted in an almost coldly realistic way. No sign of an intimate connection or love can be seen. Both extend their hands towards the centre of the image, showing thereby their serious union and their status as a legally married couple. The wife's finger has two rings, indicating a degree of prosperity had been achieved by the pair. The image includes so much of their bodies that it is possible to identify the clothing worn by the pair. Aiedia wears a chiton and cloak, Aiedius a toga, which was reserved for free citizens. His age and bodily blemishes are also undisguised. Wrinkles are depicted, carved deep into their skin, just as his leathery skin and the warts on his forehead and around his mouth are. All this recalls the traditional portraits on wax death masks. Age and its characteristics were signs of the worth (dignitas) and excellence (virtus), with which he had worked his way out of slavery. Today there are more than 125 reliefs of this type known. The similarity to windows, from which they get their name, is no accident. Such reliefs were placed in the walls of larger grave buildings and are often found, like windows next to doors which led into the grave building itself. The depictions "looked out" from their windows along the streets lined with tombs which led into ancient Rome. It was not unusual for freedmen to be interred in the large mausolea of their former masters.