CHAPTER V Monuments to German Culture 103
Chapter V Monuments to German Culture The monuments to be considered in this chapter are “Kulturdenkmäler” or “nationalkulturelle Denkmäler,” i.e. monuments to the German “Kulturnation.” They have been selected on the basis of the historical sig- nificance of their subjects in German arts, letters, and science. Most, per- haps all of them, may lay claim to being national monuments, and some are worthy of international attention. They have been arranged in chronological order, by date of completion. The chapter must begin with a monument which actually lies outside, by a few years, of the chronological parameters set to this study, but was a first in the history of German monuments. The very first German personality neither of the nobility nor of the clergy to have a monument erected to him was the poet Christian Fürchtegott Gellert (1715–1769).1 This monument was designed right after his death by his friend Adam Friedrich Oeser (1717–1799), painter, sculptor, and director of the Kunstakademie in Leipzig;2 it was executed 1 Christian Fürchtegott Gellert was a theologian and poet, who is best remembered for his Fabeln und Erzählungen. He also produced a novel, several plays, and several hymns. Among the latter the most famous is “Die Himmel rühmen des Ewigen Ehre” (“The Heavens declare the glory of the Eternal One”), set to music by Beethoven. Carsten Schlingmann, Gellert: Eine literarhistorische Revision (Bad Homburg 1967). Friedrich Wilhelm Bautz, “Gellert, Christian Fürchtegott, Lieder- unf Fabeldichter,” in BBKL...
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