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Description:
The central portion of the gate draws from the tradition of the Roman triumphal arch, although in style it is one of the first examples of Greek Revival architecture in Germany. The gate is supported by twelve fluted Doric columns, six to each side, forming five passageways. There are also walls between the pairs of columns at front and back, decorated with classicizing reliefs of the Labours of Hercules. Citizens were originally allowed to use only the outermost two passageways on each side. Its design is based on the Propylaea, the gateway to the Acropolis of Athens, which also had a front with six Doric columns, though these were topped by a triangular pediment.
The central portion is flanked by L-shaped wings on either side, at a lower height, but using the same Doric order. Next to, and parallel with, the gate these are open "stoas", but the longer sides, stretching beyond the east side, have buildings set back from the columns. These are called "custom houses" for the Berlin Customs Wall, which was in force until 1860, or "gatehouses".
The Doric order of the gate mostly, but not entirely, follows Greek precedents, which had recently become much better understood by the publication of careful illustrated records. The Greek Doric does not have bases to the columns, and the fluting here follows the Greek style for Ionic and Corinthian columns, with flat fillets rather than sharp arrises between the flutes, and rounded ends to the top and bottom of flutes. The entablature up to the cornice follows Greek precedent, with triglyphs, guttae, metopes, and mutules, except that there are half-metopes at the corners, the Roman rather than Greek solution to the "Doric corner conflict". The 16 metopes along each of the long faces have scenes from Greek mythology in relief; many echo the Parthenon in showing centaurs fighting men. Statues in niches at the furthest side wall of Minerva and Mars were added in the 19th century.
After an attic storey that is plain apart from wide steps at the sides receding in both directions, leading, on the east side only, to a large allegorical relief of the Triumph of Peace, the figures mostly women and children. Above this there is a second cornice, with a projecting central section. On top of this is a "bronze" sculptural group by Johann Gottfried Schadow of a quadriga—a chariot drawn by four horses—driven by a goddess figure. This was initially intended to represent Eirene, the Greek goddess of peace, but after the Napoleonic Wars was rebranded as Victoria, the Roman goddess of victory, and given an Iron Cross standard with a crowned Imperial eagle perched on top, rather than a wreath. This faces into the city centre. It is the first quadriga group to be made since antiquity, made from copper sheets hammered in moulds; fortunately these moulds were kept, as they would be used more than once to renew the sculpture.
The side wings have plain metopes, and simple angled roofs, ending in gable pediments with a small circular relief in the tympanum.
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