Abstract
Karl Friedrich Schinkel's design for the Altes Museum in Berlin (1822–30) and the works presented in his building have hitherto been treated as separate subjects. This article will instead consider the relationship between the building and the collections in the context of State patronage. The qualities that Schinkel attributed to his design contributed to the conception of the museum that came to predominate in the commission supervising the project. As a result, absolute aesthetic standards replaced the systematic, historical organization of the collections proposed in 1825. The goal of immediate visual transparency in Schinkel's museum building was adopted by the commission, and became a criterion of selection for the collections. This administrative consensus clarifies the purpose of the Altes Museum, and the goals of Prussian State patronage.
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