Fig..Hermann Scherenberg,“Hasselmanns
Enthüllungen/Hasselmann’sRevelations,”Ulk
(). Withpermission ofBayerische
Staatsbibliothek München, SignaturZ
.–.
Fig..Ephraim Moses Lilien,“Die Einheit von
KunstundArbeit/TheUnion of Art and Labor,”
Mai-Festzeitung.ReprintedinAchten,
Süddeutscher Postillon,–.Under the approvinggaze ofaBöcklin-likefigurehovering far abovethe
clouds,abarrel-chested locksmith (representing the workers) andaGreekgod-
dess with laurel wreath (representingthe arts) are depicted shaking hands,ages-
ture thatexpresses the party’sequal commitment to labor and culture.Forun-
known reasons,the Böcklin painting is reproduced asamirror image. Similar
representations of Prometheus and Libertasappear regularlyinthe party press
until the earlyyears of the twentieth century,evidence of the surprising longevity
of pathetic allegory asadidactic device and emotional modality.Throughout,
Prometheus maintains his strongconnection to the actual workingclass–
quite literally, by appearingsidebyside with Germanworkers and fullyintegrat-
ed into German landscapes.Apostcardcommemoratingthe 1908 Bundesfest of
the Arbeitersängerbund“Rheinland”introducesthe familiar Titan togetherwith
an Orpheus-type figurewith lyre. Prometheus’sleft hand holds upatorch while
his right rests onahammer. Vignettes of Düsseldorflandmarks and the official
festivities surround themythological figures representing labor and music and
cooroborate their full integration into working-class culture (seefigure4.1).
116 Chapter 5