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French Cathedral

Französischer Dom is the colloquial designation for the "French Church of Friedrichstadt" located in Berlin on the Gendarmenmarkt across from the Deutscher Dom , formerly a church of German-speaking congregants. Louis Cayart and Abraham Quesnay built the first parts of the French Church from 1701 to 1705 for the Huguenot community. At that time, Huguenots made up about 25% of Berlin's population. The French Church was modelled after the destroyed Huguenot temple in Charenton-Saint-Maurice, France. In 1785 Carl von Gontard modified the church and built—wall to wall next to it—the domed tower, which, together with the French-speaking congregants, gave the church its name. The domed tower is technically not part of the church, there is no access between church and tower, and both buildings have different proprietors. It was built to embellish the Gendarmenmarkt ensemble at the instigation of Frederick the Great. The Deutscher Dom, however, on the other side of Gendarmenmarkt, consists of church building and tower as an entity. In 1817 the French Church community, like most Prussian Calvinist, Reformed and Lutheran congregations joined the common umbrella organisation named the Evangelical Church in Prussia (under this name since 1821), with each congregation maintaining its former denomination or adopting the new united denomination. The community of the "French Church of Friedrichstadt" maintained its Calvinist denomination. Nevertheless, already before the union of the Prussian Protestants the congregation underwent a certain acculturation with Lutheran traditions: An organ was installed in 1753, competing with the Calvinist traditional of only singing without instrumental accompaniment. The singing of psalms was extended by hymns in 1791. The sober interior was refurbished in a more decorative but still Calvinist aniconistic style by Otto March in 1905. The organ has been played by Thomas Hawkes, among others. Today's community is part of the Evangelical Church of Berlin-Brandenburg-Silesian Upper Lusatia. The Französischer Dom was heavily damaged in World War II, then re-built from 1977 to 1981. Today it is not only used by its congregations, but also for conventions by the Evangelical Church in Germany. The domed tower, which is a viewing platform open to visitors, provides a panoramic view of Berlin. A restaurant is located in the basement underneath the prayer hall. The tower also contains the Huguenot museum of Berlin.

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/] ). The grave relief was found in Rome on the Via Appiau. 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: 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 wifes 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 deathmasks. Age and its characteristics were signs of the worth and excellence, 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 not accidental. 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.

Severan Tondo

The Severan Tondo, from circa AD 200, is one of the few preserved examples of panel painting from Classical Antiquity. It is a tempera or egg-based painting on a circular wooden panel, with a diameter of 30.5 cm. At present, it is on display at the Antikensammlung Berlin . The panel depicts the Roman Emperor Septimius Severus with his family: to the left his wife Julia Domna, in front of them their sons Geta and Caracalla. All are wearing sumptuous ceremonial garments; Septimius Severus and his sons are also holding sceptres and wearing gold wreaths decorated with precious stones. Getas face has been removed, probably after his murder by his brother Caracalla and the ensuing damnatio memoriae. The image is probably an example of imperial portraits that were mass-produced to be displayed in offices and public buildings throughout the empire as part of Roman legal procedure some documents had normally to be signed in front of an image of the Emperor, which gave them the same status as if signed in his actual presence. With each change of emperor, they would have been discarded or replaced. Since wood is an organic material and does not normally survive, the Berlin Tondo remains, so far, the only surviving specimen of this type of painting. It appears to be of Egyptian origin. Originally, the tondo had most likely a square or rectangular shape. This is best visible at the scepters the males of the picture are holding. The upper parts once adorned with imperial symbols are today missing. It seems that it was cut in modern times for better selling it on the art market.

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