By S. M. Can Bilsel
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Extra resources for ARCHITECTURE IN THE MUSEUM: DISPLACEMENT, RECONSTRUCTION AND REPRODUCTION OF THE MONUMENTS OF ANTIQUITY IN BERLIN’S PERGAMON MUSEUM, Volume 1 (Phd Thesis)
It is therefore not so much the value of a monument as a historical document as much as the architectonic principles it embodies that were of interest to the 19th century restorer. 7 The architectural exhibits of the Pergamon Museum differ from what Viollet-le-Duc called “restoration” on two counts. First, the museum seeks to establish its credibility for its viewers as a historical make-believe. The museum installation mimics the form of a monument in a given historical period. In doing so it seems to transport the viewers into a historical moment—even though this moment is vaguely defined by comparison with a theater décor or the 19th century panorama.
Just as the Parthenon frieze—the so-called Elgin marbles—is not in Athens but in the British Museum, so it appears that the Great Altar of Pergamon and the Ishtar Gate of Babylon are currently located in Berlin. Yet the more we reflect on the architectural exhibits of the Pergamon Museum, the more problematic they become. On the one hand, the exhibits of the Pergamon Museum are perceived as architectural “monuments,” each of which testifies to a distant past. Most visitors would agree that there in the museum we stand in the presence of the opera nobile of antiquity: “monuments” that were “brought” to Berlin after nearly four decades of German 3 excavations in the Middle East prior to World War I.
6 Alois Riegl, “Der moderne Denkmalkultus, sein Wesen, seine Entstehung” (1903), in Gesammelte Aufsätze (Vienna: Dr. Benno Filser Verlag, 1929). The text was translated into English by Kurt W. Forster and Diane Ghirardo as “The Modern Cult of Monuments: Its Character and Its Origin,” Oppositions 25 (Fall 1982). An editorial by Kurt W. Forster and separate commentaries by Ignasi de Solà-Morales and Alan Colquhoun appeared in the same issue. ” Nicholas Stanley Price et al. , Historical and Philosophical Issues in the Conservation of Cultural Heritage (Los Angeles: The Getty Conservation Institute, 1995).