Leseprobe

9 Museums as his model. Consistent with this choice, he arranged individual sculp- tures at the centres of the galleries, while the greater portion of works, however, were positioned along the walls. Modern works, such as the busts of Cardinal Richelieu (p. 146) and the English King Charles I (p. 145), and the figural group Nessus and Deianira (p. 140) could be seen here together with antique sculptures. In any event, it emerges from contemporary accounts – for example, Johann Gott­ fried Lipsius’s Beschreibung der Churfürstlichen Antiken-Galerie in Dresden (Description of the Electoral Gallery of Antiquities in Dresden), written in 1798 – that the arrangement followed neither chronological nor thematic principles. The new museum presentation was conceived for a broad public, as made explicit by the inscription on the facade: ‘MUSEUM USUI PUBLICO PATENS’ (Museum, open for public enjoyment). From 1835 to 1836, Gottfried Semper had the galleries of antiquities painted in Pompeian style, a measure that was accom- panied by a rearrangement of the sculptures. The Collection of Antiquities in the Japanisches Palais with a view of the Columbarium (Saal 10), 1888 Photo by Hermann Krone