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modern-day
European metropolises. If one did not benefit from it or desired more, new objects were created, such as the Berlin bowl. Sibylle Einholz, who was commissioned in 1997 to clarify the ownership of the granite bowl, places the Biedermeier world wonder in a wider context. The prior consideration of the Great Granite Bowl as a Biedermeier wonder of the world, as a technical marvel of the processing and transport of the bowl by Cantian, and as an artistic appreciation by the painter Hummel was inadequate. He also considers granite as a "patriotic symbol," "cult stone", and myth" in the Biedermeier era. Furthermore, the placement of the bowl had a particular significance.
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97:, the 6th Duke of Devonshire, was impressed and ordered one of the stone bowls. Upon hearing of this, Frederick William III of Prussia commissioned Cantian to create a similar granite bowl that would surpass the English version in size. The king declared that "the largest producer of the species should remain in the country." Cantian delivered a 17-foot (5.34-meter) diameter bowl, which he claimed would be even more impressive than the "magnificent
426:
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176:, but a bowl of this size would be aesthetically detrimental to the room. The bowl could no longer fit inside the rotunda. Schinkel suggested that the bowl be placed in a semicircle in front of the museum's staircase and provided the king with designs of the rotunda with the various-sized bowls for his consideration. After several presentations by Schinkel, the monarch finally approved the outdoor display on February 21, 1829.
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315:"that the granite is to be understood as a nucleus, as a carrier of primordial information about the formative rule of the earth. The poet speaks of the dignity of the rock, which is not only the foundation of our planet, but at the same time the highest and the deepest. To the noble rock - precious stone - is appropriate only processing to the exquisite solitaire."
560:
610:. The bowl was kept for a while between the barracks of the Berlin Cathedral Construction Works before being returned to its original location in 1981 in honor of Schinkel's 200th birthday. A larger defect at the edge of the bowl, which was caused by the effects of war, was repaired with a so-called crossing of red granite (see illustrations).
246:"patriotic granite" in the academy's exhibition brochures. Einholz noted that the "national index" for the proposed Blücher mausoleum was the "largest bowl from the largest granite find." The planned Blücher mausoleum, which would have had a dome 4.25 meters in diameter and been built of a granite rock called "Blücherstein" and modeled after
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king sided with
Schinkel, and the bowl was placed on three plinths, allowing a view into its interior. On November 14, 1831, the bowl was provisionally placed, and it was officially handed over to the Royal Museum on November 10, 1834. The estimated price for the bowl was 12,000 thalers, but it ended up costing 33,386
369:. Hummel was not interested in the bowl's symbolic meaning. In addition to the precision of the painted image's perspective and reflections on the bowl's bottom, it is worth noting that one of Hummel's paintings features Cantian, the gentleman wearing the top hat, as well as Hummel's sons and their cousin.
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After spending nearly 190 years outside, the bowl's polish has deteriorated. An oil painting from 1831 by Johann
Erdmann Hummel depicts the bowl's original, mirror-smooth surface. The bowl is now a protected monument. In October 2020, young individuals spray-painted it with offensive graffiti, which
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It is interesting to note that during the construction process, workers would sit on the edge of the shell for breakfast. This was possible due to the shell's impressive dimensions, which allowed for such activities. By mid-September 1828, the production of the profiled shell exterior and additional
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Initially, the installation of the bowl was planned in the most visible place within the museum, and the change directly in front of the entrance of the museum suggests that there is a deep connection to this place. The bowl not only contributes to the museum's architecture but also conveys content.
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In the pre-and post-Napoleonic eras, as nation-states emerged, leaders created publicly visible symbols that demonstrated their greatness, influence, and power. According to this style of thinking, historical architectural structures from Egypt and other ancient locales were dismantled and placed in
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Schuddebeurs & Zwenger (1992) haben das
Gestein als Karlshamn-Granit identifiziert. Dieser kommt aus dem mittleren Südschweden und ist etwa 1240 Millionen Jahre alt. Ihre Bestimmung ist mittlerweile mehrfach bestätigt worden." Zit. n. Ferdinand Damaschun, Uwe Jekosch, J. H. Schroeder: Die große
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In
September 1827, the blank for the granite bowl was split from the larger of the two margrave stones. Cantian informed the king that a shell size of 22 feet (6.90 meters) was possible, following a successful split, and sought direction on how to proceed. The king opted for a size of 22 feet. This
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The museum opened in 1830, and there was a disagreement over where to place the bowl between
Cantian and Schinkel. Cantian proposed placing the bowl on high columns, while Schinkel preferred placing it close to the ground on plain granite pedestals in front of the museum staircase. Ultimately, the
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Due to the shell's massive size, it was transported with a rough surface as it would have been too costly to finish and polish, and protecting it from scratches and damage during the lengthy delivery trip would have been challenging. Therefore, it was only finished according to its outer form. The
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The first splitting of the stone did not go as planned, resulting in the need to remove larger stone protrusions with hand tools. A second attempt in early
November also failed, requiring further removal of stone protrusions by hammer and chisel. It was not until December 23, 1827, that the 5-foot
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The granite boulders located in the area were glorified as national symbols during the
Biedermeier period. The worship of granite was demonstrated, among other things, by the fact that the King of Prussia purchased granite without specifying a reason. All parts of the Margraviate Stone were put to
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mentioned the polishing of granite, expressed admiration for the granite bowl measuring 22 feet (6.9 m) in diameter, and called it a "granite basin." The bowl was known as the "soup bowl" by
Berliners. Later, the work of art was nicknamed the "Biedermeier Wonder of the World." However, due to its
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of patriotic granite" could only be executed in
Mecklenburg granite. Goethe saw his earlier argument in his essay "Granitarbeiten in Berlin" (1828), that the large erratic blocks were remnants of large rock masses that had disintegrated into themselves, validated. Cantian referred to his work as
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Sibylle Einholz suggests that during the Biedermeier era, granite was not only admired for its exterior appearance but was also attributed to human qualities. Due to the difficulty of working with and polishing granite using the standard tools and methods available at the time, granite became a
407:
Pen and ink drawing by Cantian: Turning the bowl in the Rauen Mountains. The bowl body is visible on the sketch on the left about 30° slanted as a light beam; it is supported by several men. On the left, on the top of the rock on a beam, Cantian has probably depicted himself again, giving the
336:"The picture cycle literature about the development of life on earth planned in the vestibule would correspond to the basic idea about the shape of the earth as a geological quintessence set in a granite solitaire - whether in the rotunda or in front of the flight of steps remains the same."
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thick stone slab (shown in the diagram as bd-ac) was finally turned to work on the underside of the bowl (shown as ba down). Turning the 225-ton slab required 100 workers and 23 hoists. Once the underside was finished on April 26, 1828, the hollowing of the bowl continued until August 4.
479:. In 1831, the shell was studied by prominent naturalists of the time, including Klöden and Wöhler, at Cantian's request, and was kept covered during the winter. It is assumed that one of these cracks, deepened over time by frost action, led to the shell's eventual breakage in 1981.
1288:
Die große Granitschale im Lustgarten. In: Johannes H. Schroeder (Hrsg.): Naturwerksteine in Architektur und Baugeschichte von Berlin: gesteinskundliche Stadtbummel zwischen Alexanderplatz und Großem Stern (= Führer zur Geologie von Berlin und Brandenburg. Nr. 6). 2., erw. und verb.
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through the forest to the Spree were constructed; the route is still recognizable today. The transport took six weeks; daily progress was 600 feet (188 m). To put the shell onto a wooden ship that had been properly braced for this task, 54 workers were required.
724:, an oval bowl made of Revnev jasper measuring 5.04 m × 3.22 m rests on a pedestal about two meters high. The production of the jasper bowl lasted from 1820 to 1843. The fact that this bowl was crafted from the largest piece of jasper in the world, a
311:, also known as the "Holy Mountain of Silesia," where Celtic and Germanic cult sites had existed since the fifth century, was created by Schadow but proved to be unworkable. Einholz draws on Goethe's 1828 essay on granite to support this conclusion,
284:"Both the stone porphyry and the color purple were relatively rare and thus already reserved by the Romans for the emperors (for example, for sarcophagi made of porphyry). This tradition has been inherited in many later cultural circles, e.g.,
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According to Sibylle Einholz, there was a detectable ambivalence towards conventional cults in the Biedermeier era, which is why granite was characterized as a "cult stone" at the beginning of the 19th century.
1345:
Der Steinmetz und sein Material. Natursteinarbeiten in Deutschland. Beispiel Berlin. Ausstellungskatalog. Hrsg.: Bundesinnungsverband des Deutschen Steinmetz-, Stein- und Holzbildhauerhandwerks. Ebner, Ulm
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tomb in Ravenna, failed to achieve comparable monumentalism. Silesian Zobtenberg should be reconsidered. The 650-ton granite block could not be delivered due to technical issues, so this failed altogether.
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During the remodeling of the Lustgarten between 1997 and 1999, the grey Lusatian granite base was replaced with a reddish French granite. The granite bowl and the three bases are made of southern Swedish
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400:(shown in Fig: from N to S). This was a necessary step to optimally split off a correspondingly large piece of stone on August 24, 1827, which was achieved with the use of 95 iron wedges.
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On November 6, 1828, the bowl was delivered to Berlin and transferred to a specially constructed building at the Packhof, located not far from the installation location at the
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was aware of the existence of the porphyry bowl, and despite his desire to create an even more "magnificent" bowl, he recognized the similarities between the two stones.
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Great Margrave Stone: N = original location, S = after approximately 90° rotation, ac or bd = 5 feet (1.57 meters) thick blank process description under stone splitting.
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represented in a number of sketches and paintings, was not only regarded as a technical marvel at the time but also as a "patriotic symbol," "cult stone," and "myth."
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It was found that during the grinding process, the shell had three cracks. The cause of these cracks is believed to be either natural forces or the splitting of the
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for the royal family. It was deliberate to draw comparisons between Florentine Medici burial customs and Roman antiquity. This claim is supported by other evidence:
328:"that elsewhere he conceived of the museum as a kind of new sanctuary to which man goes on pilgrimage, we must attribute a special aura to the objects on display."
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in the Sala Rotunda of the Vatican." In order to "make it more receptive to the enjoyment and knowledge" of the collection, the Prussian Chief State Architect
872:
Bestätigung Schinkels am 25. November 1826; er schlug weiter vor, die Schale in der Mitte des Raumes auf bronzene Löwen zu stellen. Zit. nach Einholz 1997
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feet (approximately 21.7 meters), it is considered the Biedermeier Wonder of the World and is the largest bowl carved out of a single stone in existence.
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The public showed great interest in the processing of the blank, transportation, and grinding of the bowl in Berlin, which was documented by the painter
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Die Große Granitschale im Lustgarten. Zur Bedeutung eines Berliner Solitärs. In: Der Bär von Berlin. Jahrbuch des Vereins Geschichte für Berlin 46, 1997
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work on the shell was completed. Special transport preparations, such as the construction of a wooden beam frame, were also finished by this time.
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which weighed approximately 700-750 tons and measured 7.8 meters in length, 7.5 in width, and 7.5 in height, had been turned 90 degrees using ten
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Granite boulders during the Biedermeier era were not only thought to possess human-like characteristics but also were seen as patriotic symbols.
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The bowl, which weighed between 70 and 75 tons at that time, was transported to the Spree River using wooden rollers. A boardwalk and a
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Erste Abtheilung. Von den natürlichen Bausteinen. Vollständiges Lehrbuch der gesamten Baukunst. Hoffmann, Stuttgart / Wien (1833–1835).
357:. He created several oil paintings and sketches to capture the process. One photograph of the partially completed bowl being turned in
65:. Since it proved to be larger than originally planned, it was eventually installed in front of the museum. The bowl, which the artist
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1028:
Dietmar Reinsch: Natursteinkunde. Eine Einführung für Bauingenieure, Architekten, Denkmalpfleger und Steinmetze. Enke, Stuttgart 1991
583:, the site was the scene of rallies and marches, and the bowl was used as a viewing platform, resulting in scratches on its surface.
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Golden House, is about one-third smaller than the Granitschale im Lustgarten, with a circumference of 44.5 feet (13.97 meters).
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and had already begun splitting it in 1825. However, due to its brittleness, he abandoned this block and instead selected the
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Illustration of the grinding system with a bogie, whereby the grinding frame had the outer negative shape of the outer shell
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Galerie der Romantik. Hrsg: Nationalgalerie Berlin Staatliche Museen Preußischer Kulturbesitz. Nicolai Verlag, Berlin 1986
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that a stone this hard was polished with machine help, and the polishing of curves and cavities added to the challenge.
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579:. As a result, it was exposed to the weather and suffered from improper handling while in a public space. During the
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Granitschale im Lustgarten. S. 119, Führer zur Geologie von Berlin und Brandenburg, Nr. 6., hrsg. v. J. H. Schroeder
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However, it is not known whether Cantian carried out the Englishman's order and whether an additional bowl was made.
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working every day. The Margrave's Stones' stonemasonry tools were shaped and hardened by one or two blacksmiths.
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often used to create jewelry, makes it noteworthy. The bowl has a 12.55-meter (nearly 40-foot) circumference.
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Turning the shell over in Berlin after polishing the underside. The winches can be seen in the front left.
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displayed a circular granite bowl measuring 6 feet (1.83 meters) in diameter and two smaller stone bowls.
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Initially, Cantian had his sights set on a 600-ton granite block near the Neuendorf school district in
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1176:"Erneut Vandalismus auf Berliner Museumsinsel: Jugendliche beschmieren Granitschale vor Altem Museum"
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Lithograph of the Great Markgrafenstein by Julius Schoppe as it was still visible at Pentecost 1827
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into a parade ground in 1936, the granite bowl was moved to the green area north of the cathedral.
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247:
940:
Zeichnung Schinkels in Acta Nr. 20471, pag, 13 vom 4. September 1827. Zit. n. Einholz 1997, S. 58.
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Die Granitschale im Lustgarten. In: Mitteilungen des Vereins für die Geschichte Berlins 59, 1942
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required the Grünstraße Bridge to be significantly reduced in height to accommodate its size.
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View from the cathedral to the National Gallery with the granite bowl moved here, around 1938
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in 1818, where he insisted on a granite pedestal to represent Luther's unshakeable firmness.
46:, has a diameter of 6.91 meters and weighs approximately 75 tons. With a circumference of 69⁄
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In addition to their shared mineral composition, porphyry, and granite share a reddish hue.
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estimated to weigh between 700 and 750 tons and believed to be 1.42 billion years old. The
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Sibylle Einholz concludes that the proposal for the Blücher monument to be located on the
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1291:. Selbstverlag Geowissenschaftler in Berlin und Brandenburg, Berlin 2006. p. 119.
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Shell in 2004 (from left: Palace of the Republic and State Council building of the GDR)
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presented Schinkel with a dilemma: the bowl was intended to be the centerpiece of the
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1237:"Liste, Karte, Datenbank / Senatsverwaltung für Stadtentwicklung und Umwelt - Berlin"
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dynasty, bishops of the Christian Church, and, perhaps last, the Medici in Florence."
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was seen throughout Germany and prompted harsh criticism from cultural authorities.
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Berlin-Brandenburgische Akademie der Wissenschaften Heft 9, Frühjahr 2002, S. 84.
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commands to the workers on the winches on the right and those below on the right.
906:. Selbstverlag Geowissenschaftler in Berlin und Brandenburg e. V., Berlin 2006.
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The Berlin Bowl in the Lustgarten is by no means a solitaire from that period.
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1226:: Über Kunst und Altertum, Sechster Band, zweites Heft. Cotta, Stuttgart 1828.
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Ice Age carried this erratic boulder, composed of red Karlshamn granite, from
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size, the bowl could not be placed in its originally planned location in the
453:. To achieve a high gloss finish, the bowl underwent two and a half years of
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symbol of power and perseverance. This is evident in the decision made by
1094:"Reflexionen im Alltag – Sehen lernen, was offen vor unseren Augen liegt"
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geological era. The plinth framing, on the other hand, is made of
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Oberdorla shell limestone sourced from the Thuringian village of
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mountains where it rests alongside several other massive stones.
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Acta Nr. 20471, pag. 126. Zit. n. Einholz 1997, pp. 59 Anm. 17.
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Lustgarten with bowl in 1913, in the background the city palace
124:
The Great and the Small Margrave Stone in a depiction from 1821
26:: The Granite Bowl in the Lustgarten, 1831, Altes Museum Berlin
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Acta Nr. 20471, pag. 145. Zit. n. Einholz 1997, S. 59 Anm. 23.
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Acta Geh. Preuß. Staatsarchiv Nr. 20471, pag. 1, Einholz 1997
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Ship loading of rough granite shell resting on a wooden frame
81:
Polished granite shell in the grinding plant driven by steam
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in 1810 for the museum with the intention of using them as
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Goethe und der steinige Weg wissenschaftlicher Erkenntnis.
692:. The plaster around the bowl is made of a combination of
1379: - a collection of images, videos, and audio files
500:, which was only officially approved after a revision.
658:
Replacement piece ( crossing ), a repaired war damage
606:, the Lustgarten became part of the newly developed
1286:Ferdinand Damaschun; Uwe Jekosch; J. H. Schroeder.
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Gegenworte. Zeitschrift für den Disput über Wissen.
332:Beyond that, he sees a supra-temporal connection:
1325:Dominik Bartmann; Peter Krieger; Elke Ostländer,
646:Detailed view of the profile and the filled crack
594:' marches, and they paved the square. During the
180:Granite as a national symbol, cult rock, and myth
334:
326:
313:
282:
1262:"Erneut Vandalismus auf Berliner Museumsinsel"
341:Preparation of the Granitschale (Granite bowl)
928:Acta Nr. 20471, pag. 46. Zit. n. Einholz 1997
8:
602:, it was damaged by shell fragments. In the
385:Work on the bowl began in May 1827, with 20
503:In the course of the transformation of the
241:, stating that "the nine-foot (2.82-meter)
214:during the selection of the design for the
117:, which was then still under construction.
167:The rest of the Great Margrave Stone, 2005
85:At the 1826 Academy Exhibition in Berlin,
586:In 1934, the bowl was moved north of the
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268:acquired the two porphyry tubs from the
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183:
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53:Initially commissioned by Prussian King
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1383:Entry in the Berlin state monument list
1377:Commons: Granite bowl in the Lustgarten
1139:Ausstellungskatalog Geschichte in Stein
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731:The porphyry bowl from a piece in the
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109:intended to install this bowl in the
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619:Repairing damage to the granite bowl
188:Granite bowl and museum, before 1854
42:), which is located in front of the
980:zit. nach: Niedermeier 2002, S. 82.
32:Granite Bowl in Berlin's Lustgarten
320:According to Einholz's reading of
14:
590:because it was in the way of the
16:Granite bowl is located in Berlin
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461:, using a steam engine with ten
61:bowl was placed in the museum's
688:period, which originates from
676:granite, which belongs to the
1:
993:. pp. 59 Anm. 21 und 22.
1393:Picture of Karlshamn granite
1268:(in German). 25 October 2020
1099:. 2009-12-29. Archived from
812:. 2008-02-07. Archived from
735:, which probably came from
1434:
1352:Ludwig Friedrich Wolfram,
1241:denkmaldatenbank.berlin.de
1224:Johann Wolfgang von Goethe
568:Johann Wolfgang von Goethe
302:Christian Gottlieb Cantian
259:Cult stone, myth, and site
91:Christian Gottlieb Cantian
40:Granitschale im Lustgarten
1388:Image of turning the bowl
468:It was the first time in
361:was destroyed during the
1418:Biedermeier architecture
227:Johann Gottfried Schadow
1180:Der Tagesspiegel Online
417:Transport and finishing
156:to the Sandberg in the
107:Karl Friedrich Schinkel
89:and building inspector
1007:. pp. 59 Anm. 22.
718:State Hermitage Museum
708:More large stone bowls
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394:Großer Markgrafenstein
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365:and was housed in the
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233:in 1818 regarding the
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134:Großer Markgrafenstein
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884:Michael Niedermeier:
787:Kein Kampf um Berlin?
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465:inside the building.
442:shell's transport to
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355:Johann Erdmann Hummel
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212:Friedrich Wilhelm III
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67:Johann Erdmann Hummel
55:Frederick William III
24:Johann Erdmann Hummel
22:
1329:, pp. 148–150,
790:. pp. 109–115.
555:Condition and naming
266:Wilhelm von Humboldt
136:, a massive erratic
381:Profile of the bowl
103:Nero's Golden House
1413:Granite sculptures
1364:, pp. 110–118
1360:Paul Ortwin Rave,
667:Used rock material
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1343:Ludwig Scherhag,
1316:Sybille Einholz,
1155:. pp. 45–46.
1141:. pp. 57–58.
684:granite from the
682:Rose de la Clarté
608:Marx-Engels-Platz
392:By mid-June, the
367:Märkisches Museum
290:the German Empire
95:William Cavendish
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1266:www.rbb24.de
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1108:. Retrieved
1101:the original
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818:. Retrieved
814:the original
810:"berlin1237"
804:
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768:. Retrieved
764:
761:"Lustgarten"
711:
700:and Chinese
681:
670:
612:
600:World War II
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577:Altes Museum
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115:Altes Museum
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44:Altes Museum
39:
31:
29:
1243:(in German)
678:Precambrian
575:within the
387:stonemasons
248:Theodoric's
152:in central
146:Weichselian
1402:Categories
1272:2023-05-06
1247:2023-05-06
1193:2023-05-06
1110:2023-05-06
820:2023-05-06
770:2023-05-06
744:References
505:Lustgarten
463:horsepower
309:Zobtenberg
292:under the
278:sarcophagi
255:good use.
220:Wittenberg
158:Rauenschen
101:bowl from
87:stonemason
30:The Great
1188:1865-2263
796:0944-5560
765:berlin.de
702:graywacke
698:Oberdorla
674:Karlshamn
588:cathedral
459:polishing
272:ruins in
229:wrote to
150:Karlshamn
726:gemstone
694:Triassic
690:Brittany
455:grinding
243:pedestal
130:Oderberg
99:porphyry
1289:Auflage
716:In the
573:rotunda
498:thalers
470:Germany
398:winches
239:Rostock
235:Blücher
174:rotunda
138:boulder
113:of the
111:rotunda
73:History
63:rotunda
59:granite
1408:Berlin
1333:
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794:
737:Nero's
483:Lineup
444:Berlin
359:Berlin
322:Goethe
231:Goethe
57:, the
36:German
1346:1978.
1104:(PDF)
1097:(PDF)
592:Nazis
142:Saale
1331:ISBN
1293:ISBN
1184:ISSN
1032:ISBN
908:ISBN
888:In:
792:ISSN
457:and
435:road
274:Rome
720:in
604:GDR
598:in
218:in
144:or
1404::
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48:7
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