1877 Dr. Julius Naue
 The Fate of the Gods in the German Hero-Saga
THE LOST MASTERPIECE
Panoramic View from a sketch by Karl Albert Regnet, 1880 
  [GermanicMythology][Classic Illustrations]
           1877 Dr. Julius Naue
 The Fate of the Gods in the German Hero-Saga
THE LOST MASTERPIECE
Panoramic View from a sketch by Karl Albert Regnet 1880 
  [GermanicMythology][Classic Illustrations]
   1877 Dr. Julius Naue
 The Fate of the Gods in the German Hero-Saga
THE LOST MASTERPIECE
   Panoramic View from a sketch by Karl Albert Regnet 1880 
          [GermanicMythology][Classic Illustrations]
 1877 Dr. Julius Naue
The Fate of the Gods in the German Hero-Saga
THE LOST MASTERPIECE
Panoramic View from a sketch by Karl Albert Regnet 1880 
 [GermanicMythology][Classic Illustrations]
         
 Panels Four through Eleven (of 11 total) of the watercolor fresco-cycle were sketched and published in 1880 in Illustrirte Zeitung bd.74, nr. 1918, pp. 283-286.
 Together, these form a continuous panoramic display (see below). Known as "Rotative Compositions", these panels and their associated lunettes and spandrels tell a story from the beginning to the end.
         
 The Missing Panels:  Arnold Otto Meyer and Caroline Ferber 50th Wedding Anniversary Coin        

In the semicircle (halbrund) above the frieze, we see the three Norns sitting: Verdandi writing on a golden shield, Urd looking back and holding onto the writing. On the right Skuld, the youngest, holds the unwritten shield itself.
I. The frieze itself begins on the left with a painting of Hel. The mistress of the underworld sits in front of a cave entrance in a dark robe, her face grim. Ashen urns and her staff are to the left of her and a redbrown cock is perched a little higher on a stone.
II. The next picture shows the Aesir in the joyful, innocent time, playing their favorite game, shooting at Baldur. Right of Odin, Thor is at the center of the group. Sitting to his far left, Loki looks off into the distance, where 3 giantesses (the Fate-sisters) come with the corrupting gift of gold.
III. In the next painting, the Aesir stand anxiously and fearfully before the strange gift that Verdandi spreads them. Freyja's husband Odur gazes greedily at the glittering treasure. Loki further fuels this greed within him

       
 Above the main frieze, pictures in the lunettes (stichkappen) and spandrels (zwickeln) accompany those running below.          

The first lunette,  situated above the image of Hel, depicts Night as a semi-veiled female figure in a seated posture, lifting her concealing robe over her head. In the spandrel, Saga, a youthful figure with a flowing veil and legs crossed. With a scroll in her lap, she holds a stylus in her right hand.
The second lunette, shows the Old One in the Ironwood feeding Fenrir's brood. Skoll and Hati devour bones she thrusts at them. In the spandrel, Frigg, Odin's consort holds a golden spectre in her right hand.
The third lunette depicts the giant Egthir playing a harp. In the following spandrel, Frigg's handmaiden Fulla kneels before her tending to her mistress' feet.
The fourth lunette shows Mimir by his well, drinking from a golden horn. His reed-wreathed sons gather around him, rising from the water. In the next spandrel, Holda the Spinner draws thread from a distaff in her left and with a spindle in her right hand.
The fifth lunette depicts Thor and Sif napping on the left, while the giant Thrym, hammer in hand, scornfully waves goodbye on the right. The next spandrel depicts Holda, the protector of the unborn. Little ones frolick in her lap and a large cloth she holds billows overhead.
The name of the sixth lunette is "Loki by the Giants". The giant Thrym welcomes Loki, clad in Freyja's falcon-dress. He will return the stolen hammer on one condition, that Freyja agrees to marry him.  In the next spandrel, Holda descends to bathe. Her golden hair envelops her naked form.

                              
 Scroll Right >>>>  Scroll Right >>>>  Scroll Right >>>>     Scroll Right >>>>  Scroll Right >>>>    Scroll Right >>>>  Scroll Right >>>>      Scroll Right >>>> 
          In the following lunette (right-half only visible): The Goddesses adorn Thor like a bride, because Freyja refuses to wed Thrym.  Now visible in the sketch by Karl Albert Regnet published in 1880, the remaining spandrels and lunettes are as follows: the next spandrel shows Freyja, the Goddess of Love, and her Attendants; 

 

 

In the next lunette, the Thundergod, dressed as a bride, retrieves his hammer and slays the Giants. Loki watchs on with indifference; then  Freyja the Valkyrie; Baldur tells All-Father his Troubling Bad Dreams; Freyja in search of Odur; Thor Drives Loki Out of Aegir's Feast. Next spandrel (not visible in the page fold): Gefion the Goddess of Innocence.

Next Lunette: In revenge, Loki retrieves the deadly Mistletoe.  The Gods Comfort Nanna; Nanna Joins Baldur on the Pyre;  Syn, the Goddess of Silence;
 Thor tests Allvis; Sif, Thor's Wife; All-Father seeks Mimir's Counsel.  Split panel, scroll Right >>>
Then, in the next spandrel, Skadi; The sea-god Aegir and his wife Ran; Iduna; The Love-Goddess Freyja Shows Freyr the mortal Gerda; Odin's Three Messengers comfort Iduna. In the last lunette (not visible, due to the page fold): Skirnir offers Gerd gifts from Freyr.  A helmet on his head and  a sword at his left side, Skirnir offers the ring Draupnir with his right hand, pointing away with his left.  Gerda, with a handmaiden behind her, makes a gesture of refusal.

  In the next spandrel, Bragi and Iduna; Gerd Agrees to Meet Freyr in the Wood Barri; Frigg, Odur and Freyja; Groa's Galder-song;  Thor Blesses Bragi and Iduna's Marriage; The Day (in the final half lunette, at the End of the Cycle).

Panels I-III
Not Shown
Julius Naue-Fate-of-the-Gods-1877 1 Julius Naue-Fate-of-the-Gods-1877 2    
 

IV. The Theft of the Gold. The three Fate-sisters have brought the gods an evil gift, the gold. Then Odur, the human who is among the Æsir as Freyja’s husband, wishes to steal the sisters’ treasure and is incited to do so by Loki, the lover of gold. Then his fate overtakes him: Skuld, the youngest of the Norns, the Valkyrie, carries him off so that he may atone for his misdeed; for he has sinned, since through the theft he becomes unfaithful to the gods and especially to Freyja, his wife.

V. Freyja’s Fright. Early in the morning, when Freyja awakens, she finds her husband Odur’s place empty, and the place that was rightfully his untouched.

VI. Loki, the evil one, plots further misdeeds. Once when the gods are gathered together and, for amusement, shoot at Baldur — the gentlest and best, the beloved of all gods and men — the evil one goes to Hödur, the blind strong god, Baldur’s brother, and hands him the mistletoe arrow, which he now shoots at Baldur; the bowstring twangs, and the arrow strikes the god fatally, for only by mistletoe could Baldur be killed, since Baldur’s mother forgot to take from it the oath of loyalty, that it would not harm her beloved son.

Mortally wounded, Baldur falls to the ground, the arrow in his heart. His wife Nanna collapses in agony over his corpse. Frigg tears at her hair in horror. Gods and goddesses lament, and Thor raises his hand threateningly at Loki.

VI. (continued) To the left of the page fold, Odin and Frigg, with hands on her head, stand over the dying Baldur and his grieving wife Nanna (in the page fold). To the right, the three Norns look on. Verdandi raises her hand toward Loki who will be soon be captured and bound; the identity of the long-haired male figure on the right is unclear.

VII. The Evil One’s Capture. Loki flees into a cave near a waterfall; there Heimdall, Thor, and Allfather find him. Quickly he transforms himself into a salmon and leaps into the waters; but there stands a net of the gods. He jumps back. Thus he comes just right for Thor; the latter seizes him firmly and holds him despite his twisting and struggling.

VIII. The Evil One’s Punishment. Loki is in the gods’ power; he must transform himself back into the form of an Ás in order to atone for his misdeeds. The venom‑dripping serpent is hung above the bound one. Sigyn, Loki’s wife, sits beside him and holds a bowl over his head so that the venom does not strike her husband. But when she empties it and the venom drips onto his face, the bound one writhes in such pain that the earth quakes.

  IX. The Expectation of Battle. Because treachery has now spread among the Aesir through gold, they too fall prey to the fate of the Fates, and because they forgot the two wolves bound by the old woman in the Ironwood, these wolves now come and free Loki from his bonds. Now all misfortune is unleashed, the last day dawns, the terrifying figures of Hel prepare him for battle against the Aesir: this is Ragnarök!
          But the Aesir, too, await, armed, silent, and solemn, the final, the most difficult battle. Allfather, with his two ravens, stands, leaning on his spear, behind Thor, who lays his hand on the head of his lamenting husband, Sif, to comfort her. Heimdall, seated on the Bifröst ("Bridge of the Gods"), hears the black-and-red roar of the horn and blows his Gjallarhorn. Freyja, as a Valkyrie, floats ahead to battle; Tyr, the young war god, standing on the left in the foreground, grips his sword tighter; beside him stands the mighty Vidar, wolf-slayer. Freyr, the god of light, bids farewell to Gerda, and Frigg, in whose womb Gefion hides, sits calmly and composed beside the passionately agitated Sif.

 X. The Blessed Gods’ Reunion in Valhalla   The battle is over. The evil beings have fled, and once more the gods are in Valhalla. Then Freyja enters, Odur at  hand, who has dearly atoned for his misdeed. Bragi, the god of poetry, brings Iduna with the golden apples back to the Aesir. As the first, Baldur receives a golden apple, a rejuvenating gift from the goddess’s hand — at his wife’s request. Freyr and Gerda, the all‑golden, greet the approaching ones with great joy, as do Sif and Vidar, who no longer remains silent, but shows Frigg those who are entering; and also the kind All‑Father upon Hlidskialf’s seat.  Now the Aesir are once again joyful and united, Idun and Bragi, the god of poetry and the goddess of spring, have returned to them.  

XI. The Wind. At the end of the heavens sits a giant who, with blasts of breath, fans the wind; with this depiction the Cycle (Zyklus) comes to a close.  
  “Hræsvelg is he who sits at heaven’s end In eagle‑garb, a jötun (a giant), with his pinions he drives the wind over all peoples.” (Edda.)

 

Drawing of Haus Hauhopen by Meta Meyer Baur
 This segment of the Fresco-Cycle can be seen in a photo of the Great Room at Haus Hauhopen.
Panels X and XI, the end of the Cycle.

 
[GermanicMythology][Classic Illustrations]