These three figures stand in judgement, hovering over three half-bodied figures, who are breaking through their eternal imprisonment in the base to mourn the living’s fate. The art critic Peter Paret even further’s their meaning, considering them to be “apparitions” something otherworldly and transcendent of the human soul.15 This message from beyond the grave comes in a variety of three forms. Strife being the first the viewer will read to the far left. Her hands forever trapped as fists in an almost mocking symbol of prayer. Next to her, is a figuring whose head, unlike the other five figurines, lulls onto his shoulder. This creates intrigue as his face becomes obscured by the helmet covering it. The does not appear to be alarming at first …show more content…
Interwoven in the texture and precise postures of the figurines, Barlach also alludes to his concept of spirituality within the Magdeburg Ehrenmal.16 There is an overall application of static, unmoving poses. Emphasizing this lifeless nature are the strong usage of vertical and horizontal lines. It removes any sign of movement, making the sculpture as still and silent synonymous to the consistancy of the overarching theme of death. However, this is not the only conclusion as their is more vertical lines than horizontal lines, and with this lack of balance between the two, the meaning shifts in favor of Barlach’s true intent. Paret is quick to agree with Barlach’s words in his sculptures, that “the upwardly striving vertical separates itself from the Earthbound horizontal. To expand this: Rising (elevating oneself) above suffering.”17 This verticality has a literal application to Barlach’s art-piece. The folds along the clothing, the static poses of the characters, even the shallow carvings of texture upon the cross are all vertical in nature. From Barlach and Paret’s interpretation of the piece, this is a means of overcoming the judgment placed on the awaiting men or the apparitions below.18 Strong vertical lines are also highly representative of “heavenward” and reaching above oneself much in the same way Barlach wielded his symbology.18 Therefore, one might conclude that the Magdeburg