Hermes (Merchant God) Fountain Sculpture, Odense

A gateway of myth at the edge of Kongensgade

Standing where Kongensgade meets Østre and Vestre Stationsvej, the Hermes (Merchant God) fountain announces the transition from traffic to pedestrian life with a bold sculptural gesture. Conceived as a gateway to Odense’s central shopping street, it fuses ancient mythology with local history in a way that feels both symbolic and surprisingly playful. In the middle of the bustle, luggage wheels and shop bags, Hermes presides over the comings and goings of modern trade. The sculpture dates from the early 2000s and was created as part of a broader redesign of this end of the pedestrian zone. Its presence gives a sense of arrival: you pass under, beside or around it almost without noticing that you are crossing an invisible threshold into a different rhythm of the city.

Mogens Møller’s monumental “egg”

At the heart of the work is an 8.5‑metre‑high granite form often compared to an oversized American football or a monumental egg. This abstract body represents Hermes, the Greek god of merchants, travellers and messages. Rather than a literal figure, the artist chose a simplified volume in dark stone, which lends the piece gravitas and a slightly mysterious air amid the shopfronts. On the front of the granite block the word “PEACE” is carved, a quiet but clear inscription that adds a contemporary layer of meaning. Hermes here becomes not only a patron of commerce, but also a guardian of coexistence in a busy, diverse urban street. The polished surfaces catch daylight and street lighting differently throughout the day, changing tone as the city moves around it.

Snakes, wings and a watchful sphinx

Flanking the central form is a brick wall with an arch, into which a stylized sphinx is set. The sphinx functions as a symbolic guardian, echoing the mythological creatures that once stood at city gates. Above and around the arch, you notice Hermes’ traditional attributes: wings and coiling snakes. They are rendered in a graphic, almost emblematic style, standing out clearly against the masonry. These elements are more than decorative. They hint at speed, communication and protection, all qualities linked to Hermes in classical mythology. Their placement on the wall, rather than on the central figure, invites you to scan the whole ensemble instead of focusing on a single statue. Seen from different sides, the work reveals new combinations of forms and symbols set against the linear perspective of Kongensgade.

Viking jewellery and traces of Odense’s past

One of the most intriguing aspects of the sculpture is its link to an archaeological find from the same street. During earlier excavations in Kongensgade, a piece of Viking jewellery was discovered. Mogens Møller enlarged and reinterpreted this ornament, incorporating its shapes alongside the sphinx as part of the composition. In doing so, he layered local Viking‑age craftsmanship into a work otherwise rooted in Mediterranean myth. This meeting of cultures reflects Odense’s long history as a trading centre on Funen. The Viking motif suggests centuries of exchange passing through the area, long before the modern shop windows. Standing here, you are literally at a crossroads of eras: Viking artisans, classical gods and twenty‑first‑century consumers all referenced in stone, brick and flowing water.

Water, city sounds and everyday encounters

In the warmer months, water turns the sculpture into a small urban fountain. Thin streams and basins soften the heavy granite and brick, adding sparkle and movement to a piece otherwise defined by strong, static forms. The sound of splashing water mixes with the murmur of conversations, bicycle bells and distant buses, creating a gentle acoustic backdrop. Benches and low edges nearby offer informal places to pause. Office workers sit with takeaway coffees, children weave around the granite obelisks that line the street as protective “guardians”, and shoppers use the sculpture as a meeting point. Even if you only pass through briefly, Hermes leaves a clear impression: this is where Odense’s stories of trade, travel and art intersect.

Reading the work as part of a wider city of sculpture

Hermes (Merchant God) is one of many public sculptures scattered across Odense, but it stands out for its scale and layered symbolism. It connects naturally with the city’s other myth and fairytale‑themed works, from mermaids and wild swans in the parks to historical figures on civic buildings. Taken together, they turn an ordinary errand route into an open‑air gallery. Spending a little extra time here allows you to read the details: the engraved word, the stylized snakes, the contrast between rough brick and polished stone, the nod to Viking jewellery on the sphinx. The more you look, the more clearly Hermes emerges as both a marker of place and a story in its own right, rooted firmly in Odense yet looking out to wider worlds of myth and exchange.