Kunstkammer

In seiner Erläuterung zum Bußpsalmencodex Albrechts V. bezeichnet Samuel Quicchelberg (1529–1567) den Codex als "Grundlegung zu einem Schauplatz des Wissens"– "fundatio theatri sapientiae". Ein kurzer Hinweis darauf, dass diese einmalige, monumentale Musik- und Bildhandschrift von Repräsentation, Andacht und biblischer Gelehrsamkeit zudem als Bildenzyklopädie ein Interface zu den wissenschaftlichen Strömungen ihrer Zeit darstellt. Deren allgemeine Schlagworte lauten unter anderem Anschaulichkeit, Vollständigkeit und Ordnung, und es wird gezeigt, wie sie sich bei Quicchelberg und im Bußpalmencodex konkretisieren. Damit erweist sich dieser als authentisches, komplett und intakt im Originalzustand erhaltenes Zeugnis für ein enzyklopädisches "theatrum sapientiae"; es wird auch angedacht, wie er als solches verwendet worden sein mag.
Aufgrund dieser neuen, enzyklopädischen Dimension wächst dem Bußpsalmencodex Albrechts V. in der heutigen Zeit ein außerordentliches Potenzial zu. Über die unerlässliche wissenschaftliche Erschließung und interdisziplinäre Forschung hinaus lässt er sich mit den heutigen digitalen Techniken in ein "theatrum digitale" umwandeln, das einer größeren Öffentlichkeit einen neuartigen, multimedialen Zugang zu einem vergangenen Zeitalter zu vermitteln vermag.

Samuel Quiccheberg
Introduction by Mark A. Meadow
Translation by Mark A. Meadow and Bruce Robertson

Samuel Quiccheberg’s Inscriptiones, first published in Latin in 1565, is an ambitious effort to demonstrate the pragmatic value of curiosity cabinets, or Wunderkammern, to princely collectors in sixteenth-century Europe and, by so doing, inspire them to develop their own such collections. Quiccheberg shows how the assembly and display of physical objects offered nobles a powerful means to expand visual knowledge, allowing them to incorporate empirical and artisanal expertise into the realm of the written word. But in mapping out the collectability of the material world, Quiccheberg did far more than create a taxonomy. Rather, he demonstrated how organizing objects made their knowledge more accessible; how objects, when juxtaposed or grouped, could tell a story; and how such strategies could enhance the value of any single object.

Quiccheberg’s descriptions of early modern collections provide both a point of origin for today’s museums and an implicit critique of their aims, asserting the fundamental research and scholarly value of collections: collections are to be used, not merely viewed. The First Treatise on Museums makes Quiccheberg’s now rare publication available in an English translation. Complementing the translation are a critical introduction by Mark A. Meadow and a preface by Bruce Robertson.

“[This book] is a milestone in the critical analysis of the origins and development of the concept of collecting and museums.”
—Renaissance Quarterly

“The value for us today is in having ‘a consummate insider’s account of the foundation of the museum as an institution.’ Endnotes and color plates expand this scholarly look at early collecting. Cultural anthropologists and collectors will appreciate Quiccheberg’s insights and descriptions of creating the ultimate Wunderkammer.”
—Maine Antique Digest

“[a] highly readable translation.”
—Sixteenth Century Journal

188 pages
7 x 10 inches
8 color and 17 b/w illustrations
ISBN 978-1-60606-149-7
paperback

Getty Publications
Imprint: Getty Research Institute
Series: Texts and Documents

2013

The increased scholarly preoccupation with early modern collections and the Kunst- und Wunderkammer – seen during recent decades – has led to new understandings of how architectural arrangements of collections have developed within discourses on knowledge, scienti c method and learning. This paper addresses Johann Daniel Major’s Unvorgreifliches Bedencken von Kunst- und Naturalien-Kammern insgemein (1674), a treatise on the organisation of collections with regard to the architectural disposition in buildings, rooms, on shelves, in cabinets and drawers. The treatise draws on a vast repertoire of visits to collections, written accounts, catalogues, previously published treatises etc, and mirrors the Kunstkammer architecture of the period and contributes to its development. I will be construing Major’s nomenclature of Kunstkammern and its etymologies as an attempt to establish the ancestry for a building type and contextualise the theory into knowledge management of early modern erudite culture. I am asserting that the ideal architecture of the Kunstkammer cannot be understood as the adaptation of Vitruvian or other early modern architectural theory, but emerges in the process of arranging knowledge systems in physical space, relating the architecture to rhetorical and dialectic concepts such as methodus, dispositio, ordo, memoria and loci communes, ultimately derived from rhetoric and dialectic. Not particularly Vitruvian – albeit often with a classical appearance – I will demonstrate how the Kunstkammer interiors were fundamentally indebted to prevailing knowledge practices such as commonplacing and classifying, which had been developed by intellectuals like Erasmus of Rotterdam, Petrus Ramus and Theodor Zwinger. In order to provide an original understanding of the rationale behind the early modern Kunstkammer architecture, the paper will highlight how such practices regarding the ordering of knowledge contributed to the envisagement of entirely new and unprecedented types of spaces, ultimately building the foundation for the museum.

ABSTRACT
This study is an investigation and interpretation of the Kunstkammer and collection of Catherine of Austria (1507-1578), youngest sister of Charles V and Queen of Portugal. Neglected by Portuguese historians and art historians alike, a wealth of unpublished material (correspondence, inventories, household records, payment accounts and receipts) in the Archivo Nacional da Torre do Tombo in Lisbon have revealed that the Portuguese Queen owned the largest collection of exotica and oriental ware in Europe, during the first half of the sixteenth century, and was an active patron. The mechanics of the Queen's household and court within the context of ceremonial and etiquette, and its relation to her collection, collecting activities and practices are examined, as are the artists, goldsmiths, craftsmen and artisans patronized at the Lisbon court. Transcriptions and translations of six royal inventories and a catalogue of over 400 related documents (with annotated notes) from 1525 to 1570 are provided in the appendices, including a glossary of sixteenth century terms.

A preliminary reconstruction of the contents of the Queen's collection housed in the Lisbon palace, and its expenditures is made. Catherine's collecting practices bridged two traditions: the medieval treasury (Schatzkammer) and the cabinet of curiosities (Wunderkammer). Her goal, highly personal and eclectic, was not to collect in an encyclopaedic fashion. Aside from costly objects, a portrait and tapestry collection was assembled, prefiguring the portrait galleries in sixteenth-century Spanish royal residences. Catherine's collection became a personal reflection of her status as Queen, while its importance lay in its administration and organization, unique among her contemporaries.

Questions of common patterns of patronage and collecting among Habsburg queens, regents and princesses in the sixteenth century are raised, and in what manner Catherine of Austria's collection fits into this context, that of collecting in sixteenth-century Portugal and other contemporary Renaissance princely collections. The analysis of Catherine's documentation provides facts about these patterns and offers more about collecting practices from the mid- to late sixteenth century.

Published by Annemarie Jordan in 
Jahrbuch der Kunsthistorischen Sammlungen in Wien, vol. 87 (1991), pp. 121-126.

This article details the archival documents found in Torre do Tombo archive in Lisbon, and which document for the first time the purchase of a rare Indian rock crystal elephant Queen Catherine of Portugal bought in Lisbon. She later gave this special object to her niece, Juana of Austria, who in turn gifted it to her nephew Rudolf II of Prague. It is a rare Kunstkammer object from this queen's famed collection to have survived and is today one of the highlights of the newy renovated Kunstkammer in the Kunsthistorisches Museum in Vienna.

In this paper, I look at the ways that the Kunst- und Wunderkammers of the European Renaissance evoked animistic, spiritual understandings of the materials of the universe, and by doing so, functioned as divine spaces for their creators. The Kunstkammern—the personal art and curiosity collections of royals such at the Hapsburgs and Romanovs—acted as microcosms of the ever-expanding “world picture” of Renaissance Europe and were composed of carefully curated naturalia (objects of nature), superficiala (art and other man-made objects), and exotica (exotic or foreign objects believed to be magical). These collections were more than material means of demonstrating economic or imperial power; each Kunstkammer presented a legacy of the individuality of its creator through his/her unique aesthetics. The subjectively constructed nature of these spaces allows us to see the act of collecting as a religious ritual; like an Egyptian tomb, the Kunstkammer houses an afterlife for its creator, allowing him/her the psychological pleasure of never having to face his/her own death.

In this paper, I look at the Kunstkammer of Rudolf II as the primary site of this confluence between Mysticism, Humanism, and Magic. I take the stories the emperor told through his collection, and through that, question the ways in which we create our own legacies for the future through Things.

The paper I have uploaded is the chapter of my thesis that this presentation became, titled "¿que gigantes?"

The book is dedicated to Elena V. Revunenkova and Alexander K. Ogloblin, University year-mates and life-time friends. Since their graduation in 1961 from the Indonesian philology department, Oriental Faculty of St.Petersburg State University, these two powerful characters have dominated St. Petrsburg Indonesian studies. They have shared with their numerous followers and colleagues their brilliant knowledge of Bahasa Indonesia, deep understanding of traditional and modern life of Nusantara and in the best traditions of hereditary St.Petersburg intelligencia. The present collection of papers resulted from a conference in honor of these, our teachers, mounted by their ex-students and colleagues in 2004. We caught our teachers at surprise, knowing their modest ways and opposition to any kind of celebrations in their honor. This is the reason why there are papers by jubilars in this volume.
After a long preparation period this collection of papers finally appears just before the 70-year birth anniversaries of Elena V. Revunenkova and Alexander K. Ogloblin.
The present book starts the new series of publications named «Maclayevsky Sbornik» for papers and monographs on Insular Southeast Asia, Australia and the Pacific.
The book will be of interest for anthropologists, philologists, linguists, historians and the general reader, interested in traditional and modern culture and languages of Southeast Asia and beyond.
"

The article positions early modern collecting in relation to wider cultures
of knowledge production by using perspectives from the history of knowledge, memory studies, and recent studies of Kunstkammern. Some twenty-five years after the reawakened interest in early modern collections the author revisits the question if the museum in the Nordic countries was born in the mid-seventeenth century and asks if collections became museums and a museum culture was established with the appearance of, one, museography, theories and methods of classification and display, two, museology, a science or profession of museum organisation and management, and, three, designated, purpose-built architecture and furniture.
The first part brings into play exemplary scholarly and monarchical collectors that contributed to the development of museography and museology. The second part addresses seventeenth-century museography by introducing two acts of knowledge production and retention in the Kunstkammern – asking questions and selecting and ordering. Finally, the author discusses the findings in relation to arguments for placing the museum’s birth in the decades around 1800.

This article examines the long overlooked representation of the 'art lover', or liefhebber, in the artist's studio in the seventeenth-century Netherlands and the ways in which the liefhebber's image coalesced with a larger cultural discourse of connoisseurship, amateurship, and artistic practice. It situates these images in the iconographic tradition of the Flemish collector's cabinet, and demonstrates how the values inherent to the konstkamer became part of the visual language and meaning of the studio visit. Drawing academies, manuals, and art theoretical treatises reshaped the role of the art lover in and outside of the studio, ennobling artist and art lover alike. In this way, Dutch and Flemish artists, such as Pieter Codde, Frans van Mieris and Michael Sweerts, 'pictured' a new form of artistic knowledge and modernized an iconographic tradition.

Archduke Ferdinand II of Austria. A Second-Born Son in Renaissance Europe
Edited by:

Sylva DOBALOVÁ
is Researcher at the Institute of Art History, Czech Academy of Sciences

Jaroslava HAUSENBLASOVÁ
is Assistant Professor at the Institute of Czech History, Faculty of Arts of Charles University of Prague


ISBN 978-3-7001-8501-7
Print Edition
ISBN 978-3-7001-8972-5
Online Edition
Veröffentlichungen zur Kunstgeschichte  21 
Sitzungsberichte der phil.-hist. Klasse  909 
2021,  568 Seiten, zahlr. sw-und Farbabb., 22,5x15cm, broschiert, englisch
€  98,00

The Kunstkammer of Holy Roman Emperor Rudolf II (1552-1612) in Prague was one of early modern Europe's most famed princely collections. Part of this renown stemmed from the collection's abundance of rare, exotic, costly and artfully produced objects. However, Rudolf's Kunstkammer not only contained copious numbers of diverse objects, it also housed many objects that took copiousness (that is, sexual fertility and seasonal productivity) as their subject. This essay considers how copiousness affected the use of Rudolf's collection. In the end, it reveals that copiousness complicated and made difficult the use of Rudolf's collection on both a practical and an interpretative level.

This article serves as an introduction to the use of beads – both indigenous and European – in surviving examples of body ornaments from the early colonial Caribbean: a cemí/belt in the collections of Rome’s Museo Nazionale Preistorico Etnografico “L. Pigorini,” a belt from the Weltmuseum Wien, and a cache of beads in a wooden vessel from the collections of the Museo de Historia, Antropología y Arte, Universidad de Puerto Rico. These artifacts offer insights into how the Taíno may have adopted newly introduced foreign goods, aligning them to their own aesthetics and world view. Glass beads, acquired via visitors from foreign lands entered into a well-established repertoire of indigenous shell, stone and potentially botanical beads, introducing different colors and finishes, but nevertheless fitting within traditional cultural expressions and value systems.

During the early modem period, male artistic creativity was often formulated by means of representing a painter depicting a female nude. This essay examines the complexities and paradoxes of this artistic discourse by focusing on an unusual example of the seventeenth century Flemish genre of painted "art cabinets," Frans Francken's The Painter's Studio (c. 1623). By considering the intertextual dialogue between the paintings within the painting, as well as the action represented, and the style, I will try to reveal how in The Painter's Studio the association between death, violence, and femininity put forward a notion of painting that, informed by the tenets of Neostoic philosophy, aims to annihilate women and the feminine in order to perform the creative act. Paradoxically, the prominent presence of the feminine in The Painter's Studio, embodied in a sensual Fortune-model in the studio, points to the contradictions inherent in trying to simultaneously reconcile Neostoic misogynistic ideologies with an artistic discourse that considered the depiction of consummate female beauty as its most honorable task.

Frederick Ruysch, the most important Dutch
anatomist of the seventeenth century, created an
impressive collection of embalmed specimens
intended to serve as an educational tool as well as a
display of his artistic expression. It was purchased
by Tsar Peter the Great in 1713 to form the nucleus
of his newly formed Academy of Science, and was
housed in a unique museum in St. Petersburg. Despite
the ravages of time and the vicissitudes of Russian
history, a number of Ruysch’s historically important
specimens are still on public display, fulfilling his
lifelong desire to give anyone seeking knowledge
about the human body the opportunity to “come and
see” for themselves.

The Elector of Saxony’s wire drawing bench is an extremely complicated piece of art and technology which is relatively unknown outside France and Germany. It deserves to be more widely known not only amongst the general public, but also art and cultural historians too due to its unique straddling of the Renaissance art and scientific world. Given the lack of Anglophone materials, I present a full and original description of its marquetry images to fill this gap in the literature and I explore aspects of their iconography using a re-emerging art historical theory called the geography of art.

To make full sense of the bench using this method, the word ‘geography’ needs to be interpreted in its broadest sense, from physical to social. In my survey, I touch on the vast areas of contemporary European religious sectarianism and the increasing awareness of a German national identity. At a local level, I take into account the seasonal courtly pastime of hunting techniques, local flora and fauna, and the importance of the resource rich natural environment around Dresden.

This seemingly disparate collection of topics is brought together by the Elector’s unique bench which ultimately reflects his Saxony. When he was within his Kunstkammer perfecting the manufacture of silver wire, he was positioning himself actively at the centre of his known, manageable, and mastered world.

ISBN: 978-85-54944-12-4
O período moderno é tido como momento de gênese e desenvolvimento de muitas práticas e ideias científicas e culturais ainda em vigor. Dentro dos campos da Museologia, História Cultural e História da Arte, as coleções da era moderna são frequentemente tomadas como origem dos museus e das práticas colecionistas contemporâneas. Essas coleções costumam ser sintetizadas na imagem estereotipada dos “gabinetes de curiosidade” - um espaço fechado que contém uma profusão desordenada de objetos de natureza heterogênea.
Como apresentam os estudiosos, o interesse acadêmico recente nas coleções dos séculos XVI e XVII, com especial atenção aos gabinetes de curiosidade, se tornou mais intenso desde a década de 1980. A noção sintética atual de gabinetes de curiosidades ecoa, contudo, a forma como essas coleções e práticas foram descritas e categorizadas a partir do século XVIII, com a repetição de interpretações, expressões e exemplos cunhados com a emergência do colecionismo ilustrado. Essa imagem, construída e cristalizada ao longo do tempo, esconde a variedade de manifestações do fenômeno do colecionismo moderno e dificulta, ou mesmo impede, a compreensão dos valores, usos e significados que esses objetos, seu colecionamento e sua exibição tomavam à época.
O colecionismo como prática cultural difundida no contexto europeu moderno envolvia questões relativas à expansão geopolítica, emergência de novos paradigmas para produção e validação de conhecimento, construção de discursos de identidade e alteridade, diplomacia internacional, e muitas outras. A ideia generalizante de gabinete de curiosidades não enseja a reflexão sobre a pluralidade de intencionalidades dos sujeitos e de significados atribuídos aos objetos, desconsiderando objetos de coleção que permaneceram em circulação ou que estiveram expostos em outros espaços arquitetônicos, e as múltiplas articulações existentes entre o colecionamento e outras práticas socioculturais.
O presente trabalho, uma pesquisa em andamento, pretende debater os limites que a noção de gabinete de curiosidades impõe ao entendimento do colecionismo moderno. Busca-se compreender, através do estudo de fontes de época cotejadas com a produção bibliográfica contemporânea, como essa noção corrente foi conformada a partir das ideias e interpretações dos séculos XVIII e posteriores, estando em descompasso tanto com as concepções e práticas da primeira era moderna, como com os estudos mais recentes dedicados a colecionadores e coleções da época.

The Kunstkammer of Johann Septimius Jörger in Nuremberg, created in the middle of the 1630s and dispersed only after 1676, is not among the well-known collections of the 17th century. It is not mentioned in the correspondence of famous art collectors, nor is it recorded in the travelogues of the time. Only sporadic information is available about the works of art that had been kept in the Kunstkammer. We regard the owner as an art collector because of a watercolour in the collection of prints and drawings of the University Library of Erlangen, in which the Nuremberg painter Michael Herr (1591–1661) depicted the interior of Jörger’s Kunstkammer. The present contribution aims to enrich our knowledge of this collection based on two new sources, namely a visual representation (cabinet painting) and an inventory of the Kunstkammer drawn up in 1667.

During the thirty years that Rudolf II reigned in Bohemia, his residence in Prague Castle underwent a remarkable transformation. The main stage of this reconstruction was concentrated into the last decade of the Emperor’s life, when new galleries and stables were built for his expanding collections of art and horses. At this period, a large number of architects and master-builders were active in Prague Castle. They included Giovanni Maria Filippi, Horatio Fontana, and Anton de Moys, while the court carpenter Konrad Engler appeared in the role of building adviser, and the Emperor’s court painter Josef Heintz the Elder also devoted himself to architecture. In addition, the famous Vincenzo Scamozzi paid the Emperor a visit. At the beginning of this sequence came the Netherlandish painter Hans Vredeman de Vries, famous for incorporating architecture with sophisticated compositions into his paintings and for his treatises proposing varied architectural features. He was accompanied to Prague by his son Paul.

В книге на основании архивных документов, опубликованных материалов и исследований представлены в хронологическом порядке основные события, связанные с историей музея, формированием фондов, экспонированием коллекций, работой сотрудников первого российского музея — Кунсткамеры. Представленный событийный ряд освещает государственное, просветительское значение музея, его неразрывную связь с Академией наук, формированием как естественных, так и гуманитарных наук в России. Книга предназначена для историков науки, музейного дела и для всех тех, кто интересуется российской историей.

Sächsisches Hauptstaatsarchiv Dresden, 10026, Geh. Kab. Loc. 366/6, Der verwittibt gewesenen Römischen Kayserin Amalia Wilhelmina Majt: Erb- und Verlassenschaft betr.: Anno 1742 (fols. 246-280).
Inventarium über die Verlassenschafft weyl Ihrer Kayserl. auch zu Hungarn und Böheim Königl. Mtl. Frauen frauen Wilhelminae Amaliae Erzherzogin zu Oesterreich, gebohrenen Hertzogin zu Braunschweig Lüneburg höchst seeligste Gedächtnis.
Primary transcription by Michael Poelzl, with input from Maureen Cassidy-Geiger and Gernot Mayer; copy edited by Maureen Cassidy-Geiger

This paper deals with the remarkable genre of kunstkammer paintings – that is, paintings of picture galleries – that emerged and enjoyed a short life of fifty-odd years in the first half of the 17th century in Antwerp. These works have prompted a great deal of iconographic analysis, but this paper probes the question of whether there can be a more affective and speculative analysis of how these paintings moved their viewers and how they themselves were objects in motion. Such pictures were only made possible through the early modern development of the portable, mobile easel painting as a commodity. A private picture gallery (and, by extension, a picture of a private picture gallery) is the product of an image that is already moving -- that is, an image in circulation. This mobility of cultural artifacts, I will argue, is intimately related to shifts in the early modern notions of knowledge, virtue, and subjectivity that had far-reaching consequences. While such works may have enabled viewers to fix and confirm their identities as learned, elite, and even virtuous, their mobilization of the categories of the curious and marvelous may have worked in more intense and less predictable ways.
I argue that alchemical concepts of sympathy, hybridity and correspondence that guided the formation of encyclopedic wunderkammern were also active in the allegorical, intertextual compositions of gallery paintings, such that meaning was set in motion across and between diverse images and textual sources at the same time as that the allegorical mode attempted to secure and contain those meanings within the framework of a moral message. The affect of these paintings, I would like to suggest, may also have figured larger disturbances in the social fabric; the mobile sign may have been amenable to aspirational burghers keen to demonstrate their aristocratic virtue (and hence their social mobility) through displays of knowledge and judgment, but the internal contradictions of an allegorical conception of knowledge ultimately contributed to a shift away from the form of the encyclopedic collection in actual collecting practices and in their representation in cabinet paintings.

*Academic Book Review*

Jan Svankmajer – Dimension of Dialogue/ Between Film and Fine Art ed. Frantisek Dryje and Bertrand Schmitt. Revnice: Arbor Vitae, 2012. 508 pages. $49.95, paperback.

Excerpt:

The most interesting piece is perhaps a short essay entitled, On the Authenticity of Art, where Svankmajer suggests that authentic works of art are those that come closest to the work of nature and that each conscious intervention by humans threatens the authenticity of the work. Svankmajer claims that the most authentic works of art are automatic texts, such as cave drawings. This piece is revealing as Svankmajer comments that his intention as an artist is to ‘fossilize’ artefacts of civilization. In this respect there is a great tension between Svankmajer’s engineering artistic efforts as totally inauthentic with his production of artistic artefacts which have the quality of being authentic fossils of civilization.

In seventeenth-century Europe, theories of knowledge were developed in symbiosis with the growth of new architectural types, themselves devised for the practices of science, collecting and ordering of knowledge. The period’s intellectual endeavours, so the project argues, have subsequently been unsurpassed in utilising the built environment and mental architecture systematically for cognitive processes, and in ordering theory by means of spatial, architectural and urban structures. Theories of memory and knowledge continued to be practised and developed parallel to the progress and consolidation of new scientific ideals. The project studies the growth of the architecture for collections and science in Sweden in the mid- and late seventeenth century, and the theory imported and developed in context with them. Central to the project is the argument that the collecting schemes of the seventeenth century were not premature undertakings that evolved into late eighteenth- and nineteenth-century museums, but cultural forms of collecting that only in part survived in subsequent practices.

The Kunstkammer of Holy Roman Emperor Rudolf II (1552–1612) in Prague was one of early modern Europe’s most famed princely collections. Part of this renown stemmed from the collection’s abundance of rare, exotic, costly and artfully produced objects. However, Rudolf’s Kunstkammer not only contained copious numbers of diverse objects, it also housed many objects that took copiousness (that is, sexual fertility and seasonal productivity) as their subject. This essay considers how copiousness affected the use of Rudolf’s collection. In the end, it reveals that copiousness complicated and made difficult the use of Rudolf’s collection on both a practical and an interpretative level.

Mittelalterliche Objekte machten in frühneuzeitlichen Kunstkammern einen geringen Teil des Bestandes aus. Dennoch spielten Kunstkammern für die Bewahrung mittelalterlicher Artefakte, insbesondere aus weltlichem Zusammenhang, eine wichtige Rolle. Am Beispiel der Kunstkammer der Herzöge von Württemberg, dem das Landesmuseum Württemberg einige Glanzstücke seiner Mittelaltersammlung verdankt – ehemals aus dem sakralen Bereich stammende Objekte ebenso wie weltliche Gegenstände –, wird untersucht, welche Kriterien zur Aufnahme dieser Artefakte in das neue Setting der Kunstkammer führten und wie sich diese „Frames“ zwischen dem 17. und dem frühen 19. Jahrhundert veränderten.