Andreas Schlüter. The Arsenal building in Berlin. 1695–1730

Abstract

Andreas Schluter [1660(?) - 1714] underwent an excellent apprenticeship as a universalist painter in Warsaw at the construction artel of Dutchman T. van Gameren. He was invited to Berlin in 1694 by the Elector of Brandenburg, Friedrich III., who commissioned him to build an equestrian monument for his father, Friedrich Wilhelm (The Great Elector), as well as the Arsenal building in Berlin, based on a finished project by another Dutchman, J. van Nering (1659-1695). After moving to Berlin, the nature of Schluter's personality and his creative principles immediately became apparent. While working on someone else's architectural design, he managed to almost preserve the plan entirely, the structural framework, and even the intended elements of the sculptural decoration of the building, but radically rethink this decoration, bringing it a maximum of symbolic content and expression. In the Arsenal, for instance, Schluterleft the same number (76) of decorated warrior's helmets in place of the identical ones found in Nehring's design, but without repeating them in the decoration scheme. He also "populated" their high plumes with eagles and dragons tormenting prisoners, as well as sphinxes, trumpeting genii, etc., creating a virtual and symbolic "protective belt" against enemy attack on the fortress. The same was repeated with the installation of the many sculptural "trophies" on the roof of the Arsenal as conceived by Nering. Instead of 16 cannons of varying caliber, Schluter introduced the same number of hislarge compositions in metal, including scenes of executions of prisoners. This final touch of his decoration of the building reflects the commandment of Moses "Thou shalt not kill". After the end of the 30-year war (1648) the cult of public executions of prisoners in the town squares persisted in Germany more than anywhere else. Schluter was obliged to attend them together with the monarch as the chief painter of the Court. As a result; 22 "masks of dying warriors" appeared on the walls of the courtyard of the Arsenal, which became his famous "calling card" in world art.